Golden Child
- Thread starter Artyczar
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bethany
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There is so much to think about with this one. The contrasts between pattern/flat colour/texture make me wonder.
The story seems disturbing. The blank expression on the "dad" and emotion of the toddler are really effective. Showing the wood of the panel is also a design choice that gives some respite to the composition.
The story seems disturbing. The blank expression on the "dad" and emotion of the toddler are really effective. Showing the wood of the panel is also a design choice that gives some respite to the composition.
Joy
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This is wildly creative, and makes me realize I likely have never had an original thought! Yes, it is quite unsettling, but the "best" art evokes an emotion. The composition and color choices are spot on. Would you classify this as a surrealist work, or something different? The pieces you produce are always so interesting. I wish I had time to comment on more of the work on CS here in general. It is easy to fall into the the rabbit hole of the internet, which can become quite time consuming.
Artyczar
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Thank you so much, Joy and sno.
Joy, I really appreciate your words here. I'm happy you like the colors I chose. I spend much time making those decisions. I don't know how I would classify this type of art, but there is a surreal component to it for sure. You have me thinking now about how to classify my work for descriptive purposes.
Sno, your words always make me feel good, and I'm glad you like the colorless aspects of this one.
Joy, I really appreciate your words here. I'm happy you like the colors I chose. I spend much time making those decisions. I don't know how I would classify this type of art, but there is a surreal component to it for sure. You have me thinking now about how to classify my work for descriptive purposes.
Sno, your words always make me feel good, and I'm glad you like the colorless aspects of this one.
Joy
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I neglected to add that I also enjoy the use of the wood panel and the decision(s) with the white areas. Viewing it as a collection of shapes and negative space (sans detail) shows how well the components work together as a unit. (Assuming I actually have a clue about contemporary art. 
)
You have conveyed that you put a lot of thought into your work. Those that know little about modern art often erroneously assume that the modern artist paints extemporaneously. Do you do value studies or other sketches first, to decide on your composition?
And I know that this is totally OP, but the creator of "Great Art Explained" on YT has a book being released about the meaning and creation of various works. Your painting made me think of the thought that must go into so many works.
)You have conveyed that you put a lot of thought into your work. Those that know little about modern art often erroneously assume that the modern artist paints extemporaneously. Do you do value studies or other sketches first, to decide on your composition?
And I know that this is totally OP, but the creator of "Great Art Explained" on YT has a book being released about the meaning and creation of various works. Your painting made me think of the thought that must go into so many works.
Artyczar
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Thank you so much, Joy. I truly appreciate your input and observations.
Yes, I do make a few sketches beforehand. I usually take those into Photoshop and experiment with the colors until I'm satisfied with how the piece works together with the colors I've chosen. I spend a lot of time on that. I take a lot of progress pictures as I paint the actual painting, too, then import them into Photoshop, where I usually make even more decisions about what to do next. It's a slow process for me because I look as much as I make marks on the panel/canvas. But believe it or not, I'm impatient as all hell. Don't know how that works with my slow process, but there you have it.
This series is all taken from actual old photographs of my family, but of course, I change it up. Sometimes, what's in the photo gives me ideas about the composition--what to subtract, add, or impress. This one had a plastic-looking room partition with this design in it that I semi-copied (the white part in the upper left). It continued fourth right, but I later decided to pull it out and add the dark grey and black. I decided not to color in the bodies because I liked the way it looked in pure white when I had it in Photoshop.
Yes, I do make a few sketches beforehand. I usually take those into Photoshop and experiment with the colors until I'm satisfied with how the piece works together with the colors I've chosen. I spend a lot of time on that. I take a lot of progress pictures as I paint the actual painting, too, then import them into Photoshop, where I usually make even more decisions about what to do next. It's a slow process for me because I look as much as I make marks on the panel/canvas. But believe it or not, I'm impatient as all hell. Don't know how that works with my slow process, but there you have it.
This series is all taken from actual old photographs of my family, but of course, I change it up. Sometimes, what's in the photo gives me ideas about the composition--what to subtract, add, or impress. This one had a plastic-looking room partition with this design in it that I semi-copied (the white part in the upper left). It continued fourth right, but I later decided to pull it out and add the dark grey and black. I decided not to color in the bodies because I liked the way it looked in pure white when I had it in Photoshop.
Joy
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Thanks ever so much for taking the time to elaborate on your methodology. Now I am even more impressed! Interestingly, we are kindred spirits in that our pieces are very time intensive, but are impatient about the process. My tendency is to over work dreadfully, but am so slow I get bored and want to move on. My admiration for those that can do quick impressionistic pieces is profound. Lately, I have not posted very much as I am starting to abandon things that are not working for me, rather than cause myself frustration.
Artyczar
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You're welcome. And I sure feel you regarding being impatient, wanting to move on because I get bored, etc. It's not easy to approach art with the commitment you don't always have. I often take days and weeks off. Even months just to try to refuel. I used to work every day like I was clocking into a job, but the older I get, the less energy I have. However, I've learned (a little) the art of walking away before totally overworking things. Looking at the work is so important, and making decisions that will make the piece better, and all that needs time, and being slow. It's not a race. And sometimes, less is more. I also have a quick sketchbook that is dedicated to just ideas. Nothing in there is rendered. I gather a bunch of those ideas and look back on them later and realize that not all of them (if any) are good ideas that are worth executing. And so it goes.
Joy
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Wow, and I had a mental picture of most members of CS diligently and prodigiously producing on a regular basis! I thought art is your career, and one would have to approach it like a job. The few workshops I attended, the instructors "worked" daily, as it was necessary. So often I am disappointed in my efforts, so I look for excuses to not make art. And even though we are so often admonished for comparing ourselves to others about anything in life, it is hard not to make some comparisons. Oddly enough, the "rule" does not seem to apply to actual or perceived misfortune, as we are instructed to think of those with worse problems, a form of comparison. So your statements have me feeling more at ease with my own. Oh, wait - I just compared myself to someone! 
Artyczar
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I can't help but to compare either, especially on Instagram. How does everyone produce work so damn fast?!
For 36 years, I worked every single day from sunup to late nights. I feel like I did a lot of my (everyday) time, and it burned me out. I recently took a five-month break (one of my longest) because I got very sick. But I have a show next spring, so I'm back to practically every day again, and I feel a lot better. I have to fill a large room with all new work. That lights the fire under my butt.
Art is my career, but breaks (for me) are essential because of my disabilities. I have about a thousand other/older works I can sell in the meantime. Not that I will, but I'm trying. Always.
I once took a year off. That was the longest I ever did. It was after the time both of my parents died. I was in a down, dark place and could not find joy in working. Eventually, that lifted. That was 2010. The past 5 or 6 months were the next longest time I haven't worked. Just hoping that is over and work will become more constant.
For 36 years, I worked every single day from sunup to late nights. I feel like I did a lot of my (everyday) time, and it burned me out. I recently took a five-month break (one of my longest) because I got very sick. But I have a show next spring, so I'm back to practically every day again, and I feel a lot better. I have to fill a large room with all new work. That lights the fire under my butt.
Art is my career, but breaks (for me) are essential because of my disabilities. I have about a thousand other/older works I can sell in the meantime. Not that I will, but I'm trying. Always.
I once took a year off. That was the longest I ever did. It was after the time both of my parents died. I was in a down, dark place and could not find joy in working. Eventually, that lifted. That was 2010. The past 5 or 6 months were the next longest time I haven't worked. Just hoping that is over and work will become more constant.
Hermes2020
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Arty, that is certainly a thought-provoking painting that has prompted some interesting reactions; that means, in my book, that it is very successful. I knew your style reminded me of an artist, but I just could not put my finger on it. Then it struck me: I was thinking of a British artist you probably know, Patrick Caulfield! I hope you don't mind the comparison, but I just cannot help myself.
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