Last night's mini pastel

[JennieJo]

I've been watching A Lot of You Tube art related videos. They are never ending! But I chanced upon a New York abstract artist who videoed what seem like genuine lessons. He speaks my language. Not sure if I'd enjoy the real experience as much. I would call him a "classic".

I have been experimenting with his words of wisdom, just modifying how I see what is on my canvas.

This is soft pastel on 8x12" board. Just needs a few more touches. A main message from this artist is: it doesn't matter what you start with, he always uses a complex still life, if it can be seen when you're done you haven't created an abstract work. It may be good, but it's not an abstract.

If others see things in there, that's not your business. Your business is do you see what you started with.

On his scale, I fail. No matter which way I look at it, I still see the onion bulb. My dilemma is: keep the human profile, and the eye that I see.

 

[Enyaw]

This is in no way meant to offend but I see Fred Flintstone. I must have watch tv too much when I was young. I would lose the humanity. Btw…care to share the artist’s name?

 

[JennieJo]

I never take offence on here. I'll have another look. Here's this morning's version of The Onion. Just after I decided to go landscape I saw a face profile.

 

[Jo Castillo]

Ah, love pastels and your paintings are fun. I like the second one best. No good reason.

 

[Terri]

A main message from this artist is: it doesn't matter what you start with, he always uses a complex still life, if it can be seen when you're done you haven't created an abstract work.

That's a fascinating way to set up for an abstract! It gives you a goal, of sorts.

I struggle with the concept because of not having a jumping off point, so to speak, so this is useful.

 

[PaintBoss]

Your abstract is getting stronger and stronger! Well, there are different stages between realism art all the way to abstract. So pieces can be a little reminiscent of the original reference or not.
That artist is right. He’s trying to free people to let go of their natural inclination to make something that looks identifiable. It takes practice. Many people find it hard to go to an abstract way of thinking of a subject. You can represent an idea, an emotion, an object in a whole new way- that is not straightforward, but still interesting, intriguing or evocative. I just saw an artist who did beautiful abstracts based on water. Obviously trying to get away from the usual image people would think of. It was sublime.
And I find your work has those traits. Very nice. The colour is awesome too.

 

[JennieJo]

Thank you so much.

 

[JennieJo]

That's a fascinating way to set up for an abstract! It gives you a goal, of sorts.

I struggle with the concept because of not having a jumping off point, so to speak, so this is useful.

I especially like his method, and how he describes it-push the colours around so they move forward or backward. And think of black and white as colours.

 

[Enyaw]

Fred left with the coloring. That is more fluid and free flowing.

 

[Donna T]

I don’t see anyone from the town of Bedrock or a face profile, which is weird because I usually see so many things. You’re doing a great job of keeping these abstract Jennie Jo!