Cassandra, Tali Gai, Pastel on Black Paper, 2009
Cassandra, Clytemnestra, Agammemnon, Tali Gai, Pastel on Black Paper 2009
Untitled, Tali Gai, 2008
Untitled, Tali Gai, 2008
Self-Portrait, Tali Gai, 2008
Untitled, Tali Gai, 2008
These are my two drawings for the Project Pere / Mere curated by Yves Haddad and mounted at a TBA museum/ gallery in Paris and Italy. (For more info contact yvesperemere@gmail.com) I enjoyed creating these pieces. It was a real test of my command of principles as they were done from photographs. The photograph of the young girl (me, at 6) had a particular lack of information but I am proud to say that my leaning on the Tim Stotz method of asking "what must be there" works. I basically created the high points of the contour and then just made arching, draping, and twisting pathways/ eye movements to find radiating packed forms and guessing where the smaller subforms/ planes had to be based on the radiating movements from the contour. Really thinking a lot about the arching and draping of patterns of light across the form lately in order to keep my vision large as I create subforms as well as their wide to narrow 3d shape. It's all about recording eye movement, I think. Pontormo- ahhh...I trace my eyes through a pontormo drawing these days to warm up. That guy could draw like an angel. Ahhhh....the Italians...and of course, the French, too....
(Copy of Vouet Nymph, Fall/ Winter 2008)
(Finished Version, winter 2008)
(Unfinished Version, Fall 2008) A copy of Simone Vouet's St. Michael. I love the radiating, fanning shapes of light. So beautiful. I didn't quite finish putting in the shadow and reflected light on the stomach and pecks and the consequent rounding and ending sequence of subforms but hope to get to it soon. I learned a lot from doing this copy - it was particularly exciting to see the "hands grabbing" of light shapes and physical structures that Tim talks about in class. I could especially see it in the terminators (i.e. the terminator between the deltoid and bicep on the arm thrust forward). So beautiful.
Okay. First, let me apologize for the image being sideways ! I couldn't figure out how to rotate it. That being said....This is my first attempt at a painting a day. It is a quick (relatively quick) study of a blue rose for a larger painting. I started with a burnt sienna mush (burnt sienna and a medium consisting of turp, damar, stand oil, etc) and whiped out the dark light and light light. Then I went right into a first pass. In painting this again (on the larger canvas that it's intended for) I think I'm going to do an underpainting indicating the fall of light with more accurate blue hues rather than a burnt sienna mush - because I found the warmth of the mush very distracting as it kept poking it's head through the thicker layers of paint, making areas too warm, and thus requiring a second pass where one pass could have worked. Lesson learned! Any way. I look forward to having a bit more time with this one in the larger painting that it's intended for.....
