Mein Stammitaliener hat nun doch tatsächlich auch ein Halloween Abend organisiert. Die haben sogar extra Flyer drucken lassen. Ich bin ja eher skeptisch und glaube nicht, dass die Leute verkleider mit Vampirzähnen zum Essen ins Restarant gehen. Ich bin aber mal gespannt. Werde auf jeden Fall einmal hingehen. Verkeidet natürlich.
Halloween ist überall. Im Supermarkt springen dich die Kürbisse an, bei Facebook sieht man gruselige Kostüme und auch im Nachtleben kann man sich diesem Sog dieses Wochenende wohl kaum entziehen. Neuster trend sind hier wohl farbige Kontaktlinsen mit Stärke, mit denen man gruselige rote oder schwarze Augen bekommen kann. Natürlich darf hier auch nicht das Blut fehlen, dass aus offenen Wunden herausquillt.
Es ist irgendwie eine kleine Gerneralprobe für Weihnachten, wenn sich aller herasputzen und gemeinsam einen Abend feiern, es ist halt nur irgendwie anders.
It wasn’t until mid Renaissance times that anyone other than the church was wealthy enough to afford decorative commissioned paintings. People wanted to show their wealth by asking painters and sculptors to do this.
Roman Art was almost as wallpaper, it covered most of the interior walls, outdoors murals, shop walls and ceilings.
Art form then, was a service to others, a technical skill brought into your establishment with limited individual freedom. Nevertheless, many artists while working for the church and patrons would also benefit from food and bedding as guests while executing their assignments.
In contemporary times, artists are given an assignment and we often pre-negotiate payment, theme, color scheme, size, etc…
Has the artist possess limited freedom in their work? What are the personal benefits besides the payment that an artist accomplishes from a commission that moves away from the individual style?
The challenge is that an artist has to re-think their work outside their ‘safe-comfort zone’ and create pieces that satisfy the commissioner as much as themselves.
I personally found this a very enjoyable journey for a professional artist. These five paintings shown here are an allocated comission to Novotel Hotel in my local zone.
After given a brief, I have walked to my studio thinking, researched and re-invent some artform that would still fall in to the client’s expectation and of course carry on my style signature. A challenge that I have truly enjoyed with the added bonus of discovering a new facet to my developing art skills.
Is a traditional artist an ego seeker? What is an artist true goal when producing art, is it their own fulfillment, or is it the rewarding enjoyment of public/patrons approval?
Following up the lessons on observational drawing and painting, and the weather being back to cold and rainy, the school children were to make landscape paintings.
If we couldn’t go out into the landscape, why not bring the landscape in by making a miniature model with different subjects as a replacement for trees, sky and mountains:
This process was used many years ago, Renaissance artist Giuseppe Arcimboldo was perhaps the first artist to use food to create a mosaic image, though his work was painted to create quite surreal subjects. Da Vinci was also said to use different vegetables as models to create diverse greenery. Here I have used different mediums as broccoli, Chinese cabbage, pebbles, cotton, fabric and a miniature horse to create a mini landscape.
Ages: 8-9 year olds
Number of children: 10
Medium: Oil on canvas
Size: 127 x 102 cm
The weather is been fantastically good, so in order to give an art lesson outdoors to the kids and enjoy the sunshine, I have taken them outside in the school playground/pound area for painting.
By dipping a paintbrush in the water pound, and mixing it with soil, you can create beautiful earthy shades, pretty much the same principle as watercolour.
By breaking grass and smudge it on paper you can make a shade of green, and by using a burned wood stick you can create some chalky black. Using only these natural pigmentations from nature you can create 100% organic art on recycled paper.
I have made two organic sketches, one that I prepared at home in my back garden and another one I used for a quick demonstration how it works for the kids.
Here are some of the results:
School workshops- Observational drawing lessons
In a series of workshops teaching children how to make observational drawings I have set up a box with one opening to the front and a small hole to the side with a table lamp popping through it just like the examples I am showing it here:
This is the simplest way to understand shading by identifying the light source and accentuating its shadows.
I have used this setting as a model for building up tone in a conventional way of showing the effects of light and shade accurately just as we see it. Looking at the shadows and highlights, I drew these shapes as toned areas by using light and hard pressure with the colored pencil and by hatching and cross-hatching accordingly.
I have set up a different subject inside the box for the children to practice and it is important to notice that this creates the opportunity for them to experience and observe by themselves.
Exhibition runs from 7th March until 4th April, 2009
Culto, Womanby Street
(just opposite the Welsh Club)