Your art is incredible, totally thought you were a girl, no offense to any party, but your art too awesome like many here you have inspired me to work harder, Thank you!!
thanks everyone for all the support, much appreciated.
Continuing with the themes of introspection and imagination, I feel that the ocean is a great metaphor for the mind. Trying to hold onto one thought for a long period of time is nearly impossible for me, and its amazing how they ebb and flow like the rhythm of the ocean. Some thoughts are a rip tide that pull you away from familiar shores and some are dead flat.
There is the idea that our minds go much deeper than we can consciously explore into a dark, uncharted abyss, or even further down into the trenches. Now I'm no psychologist or anything, but these were the thoughts that were swimming around in my fleshy brain case as I drew this picture in my uncle's super awesome backyard studio.
One of the exciting hilights was turning around mid session only to discover a gigantic swarm of bees 7 foot high, a big buzzing cloud that made me jump out of my chair. I moved the table to the other side of the yard and faced the bees so that I could keep an eye on them in case they decided to go all jihad on me.
Sorry that the scan is so over exposed- all the subtle light greys were washed out with white- I took it to Kinko's since I have no scanner here.
Anemone is 14 by 17 inches, made with pastel and pencil.
Progress shot on the easel:
The finished scan (detail)
Richard Schmid Lecture Notes
I visited the Pasadena Museum of Californian art to check out their latest show, which was a great exhibition. As I was about leave, I overheard someone mention a slideshow presentation. I checked my brochure and found out there was a Richard Schmid lecture starting in five minutes!
I also quickly shook his hand and said thankyou just before the lecture, never washing my hand again!!! must extract the dna and make a schmid clone teach me to paint!
Here are the rough notes I made, I hope they might help in some way!
They are just my personal notes, I'm not trying to teach anyone but myself, and writing helps me get my thoughts in order.
I managed to scribble down some quotes too.
Lucikly I found some of the paintings he used in his lecture too!
Schmid eased us into the talk with his oddball sense of humour, getting us relaxed as he made his first point: the primacy of direct, sensory experience is most important and can only achieved by painting from life. No digital camera could ever capture that same experience, visually or otherwise. He then stated every painting is a self portrait in a way and that every artist in this sense has an obligation to be introspective.
The external reality only serves as a springboard to allow the artist to explore their inner landscape.
One of the funny images Schmid used throughout to make it a really fun experience.
The presentation consisted of slides of both his and his wife Nancy's work, pointing out the importance of design, edges, colour and various other aspects you can read in his books.
The portrait lighting - lit from both sides. One side has to be dominant, even if slightly. Difference in temperature has to be observed carefully between the light sources. Always check the shapes.
There were a lot of direct advice on painting a still life.
- Painting every part of the flower including the stems, paying attention to the subtleties of the leaves and the symphony of their motion, the design shape created by its beauty and variety and of course to love every second of it.
-Painting the dead leaves as well, or the different stages of life. The browns harmonise nicely with the fresh ones and create a richer, deeper and more balanced images. Flowers from the florist come too perfect and clean- get out in the real world and paint them as they are.
Spend as long as necessary to set up a still life- even if it takes a week or two. Find objects that are interesting and pay attention to the way it is set up.
This was the still life included in the exhibition
An example of a more elaborate set up. The one he used in the presentation was more involved and complex.
Preparation is key according to Shmid, because once your technical skills are in the right place, then all that is left is to copy the set up in a painterly fashion, to copy the shapes and use the brushwork to describe the edges, lighting, drawing and design.
Nancy Guzik's painting of children: He showed a series of his wife's painting of kids.
-She finds parts of life that any other artist would overlook- a child clenching her foot so the shoe won't fit. Find these aspects in life through experience and understanding.
-importance of design elements in foreground leading up to the focal point- use nature to find interesting shapes for your composition.
This image wasn't in the lecture but still a good example, the river leads in, and is kept interesting by attention to its unique, natural design.
There is a strong no nonsense approach to schmiddo, to him art is not just a verb but an entire sensory and emotional connection to the interior and exterior world.
Even after talking about art history and the slow development of understanding up to the pinnacle of 19th Century art, he would quickly let his words disintegrate into a blah blah blah. He is not even interested in his subject (though he does contradict himself there) or symbolism for that matter.
"People want to know the symbolism behind any paintings and I make up a different story each time."
He tells a story with direct control of brushwork and edges, his experience of the moment, a visual language that scholars can only dream of controlling. It makes sense. Writing about his art is for writers to do. His role is to do it.
-The one point he made about styles- it is important to have different approaches and techniques to use, because it is akin to searching for the perfect turn of phrase, or having an expansive vocabulary to draw upon- the paths to expressing oneself all depend on the mastery of the technique. He broke technique down to four points- Good drawing, value, edges and colour.
-He then proceeded to introduce a new method he had been using to absolutely stunning effect.
-After making a mid toned wash of stand oil, damar and turps (I think) he then proceeded to rub out the wash to form the distinct design of the petal with a towel and cotton tip to reveal parts of the white beneath. He then introduced opaque paint over these areas and created a powerful image- there was a clear distinct cleanliness to this method which seemed to take it to a slightly higher level.
"You can't teach an old dog new tricks, but an old dog can teach himself new tricks"
These were painted using that technique and were used to demonstrate its effects.
Schmid is all about observation and technique- there is a sense to his works that he does not try to glorify his objects, but copy them and let them reveal their own beauty. There isn't exaggeration of colour or any of the overkill that is present in a lot of landscape work.
Just wanted to post up some new art! The opening night was great, it was really good to meet everyone who came.
I had 25 works hanging in the Phone Booth Gallery, we've sold 7 so far. Much thanks and love to those who made it out, and the buyers in particular for their support. All pieces come framed.
It was definitely taking a plunge having my first solo show in another country and not really knowing anybody.
And LA is the worst city to be on your own- because everything and everyone is so far from where I am staying right now. At least I am happy I managed to finish like another 4 works since I got here...filling up the gallery space quite nicely.
If you like a piece you can find the price, size, medium, framing info etc on the Phone Booth Gallery link.
I'm only posting a selection, to see the rest follow the link below.
Feeding Birds: Midday
Feeding Birds: Morning
Photo of me with Kevin Tong (left) the buyer of this piece, who also happens to be a great artist, and a top bloke!
Dream Wheel II
In Concert II
In Concert III
Inspired Flight II
Last edited by rodrigo!; April 18th, 2011 at 03:04 AM.
Wowww... the world looks so fun when you draw it.
..that's not supposed to sound pessimistic.
I like how you seem to make visual representations of the concept of connections. Like that girl with the flower (back on page..15ish), where the flower she was smelling was actually just the tip of the iceberg.
Anyway, it's wonderful art with neat thought behind it.
Anemone is beautiful, and I really like Imaginade, too. I also really love the colors in In Concert I.
Nice luck with catching a Schmid lecture. o.o And thanks for sharing the notes! Interesting to read.
All in all, looking good!
Dude this is serious stuff.
My favourites are the inspired flight series and anemone. I like the first inspired flight, but what I really like about the second one is the flow of form from the hair into the eagle.
One critique would be, if I may, is that sometimes the edges of your females can be a bit blocky, like the lines too straight, which conveys a re more masculine rather than feminine form. Although it does give a stronger read, I think it may bring more feminine curve to flow with the contours a bit more.
Stay safe Rod.
Nice post on the Schmidd lecture, though I don´t fully agree with the man, his paintings are quite interesting technically.
I was of the ´technical school of thought´ for a long time, a recent exhibition of Hyperrealist works in the area has kind of tipped my belief a little. Technically sound artists are the base of a good painting, but it is then the responsibility of the artist to make certain decisions that make a work unique. To use those techniques for a 'bigger whole'. Simply painting it, and hoping the best is not really that interesting (at least not for me).
Schmidd seems to advocate an approach in which you don't really think about the content or meaning of a work, which kind of shows in his paintings. Yes, they're awesome, but they're technically awesome... not overall.
The Hyperrealist show I went to, was a show in which work of Chuck Close was exhibited. Fascinated as I am by this man, his early works are of the same kind: technically awesome. (they're painterly copies of photographs). The difference here however, was that his 'movement' consciously made the decision to venture into photographic reference. This to avoid 'doing what everybody was doing back in the 70's'.
My point being: a fine artwork - to me at least - is a combination of thought, concept and technical prowess. If one of them lacks, it shows... With Schmidd's paintings - awesome as they are - I always find myself looking at the details, the brush-strokes, the technical stuff - how he made the painting look the way it looks. It is rarely that I really see those kind of paintings as a whole, as an idea.
Just my two cents though....
I love your idea of the 'daily-moleskine' type of thing. But how do you get the. oils to dry quick enough? And another question: do you prefer oils to acrylics, and why? I find myself working with acrylics a lot, because of the dry-time and ease to clean my brushes.
Thanks guys! Replies down the bottom
Good news, the earlier solo show in LA that I posted up nearly sold out, bout 3/4 sold and my solo show in SF sold out! Had a show that had my moleskine artwork framed so that it was reversible, with art on both sides in some cases. I also hung heaps of pages in the windows as a little installation thing.
I had a blast on my trip especially in SF, great community of artists, they all came to my show and even coro showed up, i was so honoured to be there!
So if you'll indulge me, I've got some art/photos from the trip and new stuff. With more on the way too!
Cheers and sorry for all the images.
Show photos courtesy of warholian.com
Painting I did up in north cali with my friend sergio lopez, aka "mainloop"
Sketch I did at the atelier in SF
I also modelled there for portrait one night, here is a painting by jeremy mann of me
Did some sketching in golden gate park, san francisco and did a photo thing.
Some oils/pastel hand studies in the moleskine, 8x10
finally some previews of work in an upcoming group show which opens this thursday 4th august in san francisco, if youre interested please see www.spokeart.com
spawn2- definitely agree with some of your points! I think that his work does have meaning, it has a personal meaning that is based on the immediacy of the experience, and he is communicating that feeling through the painting. It's just a lot more simple, and is not designed to teach you anything or force a particular ideology down your throat I guess that's what I like that about it, because it's easy to get carried away in your own philosophical ideas, and you forget they are just thoughts. But I see your points too, and they are true as well hahaha
I don't paint in the book daily, usually once or twice a week, maybe if I'm working super hard I can squeeze in a bit each day. Normally I use liquin or stand oil, which dries the paint faster.
Cam- I agree with your opinion, I'll try to do that in my next works. thankyou sir!
Can only echo Nicky and Teapo.
& For some reason I've never been in here before; which was bad in a sense since I've now lost over an hour just by going through page after page of delicious works.
That said it was a good hour ~
Very inspiring and thanks for posting all of this (5/5)
SB. p31 updated 25.04.2012.
Nice hand study!
yeah love the hands big time
sb most art copied to page 1
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thanks guys for sitting through such a dump of images, I've been working (too) hard lately, I may be going crazeeeee
heres some more stuff, the full versions of the artworks I had at the spoke art show in san francisco last night. the works will be viewable online soon at www.spoke-art.com
I've also just been invited to exhibit with some of the great inspiring artists in SF that I met with the next safe house atelier show, so I'm really excited about that, as long as I don't fuck up the painting of course.
Here are the works from the opening night of the group show with spoke art
2 moleskine double pages-
Pencil, acrylic, pastel
8" by 10"
8" by 10"
and a larger drawing-
15" by 20"
Last edited by rodrigo!; August 6th, 2011 at 04:01 AM.
Wonderful lines and texture & gives a nice warm feeling.
Your work in general kind of reminds me of music like
Probably more so than the blues artists you often portray ~ but ah wonderful either way ~
SB. p31 updated 25.04.2012.
Aloha from Australia, Nice update man, solid work as usual. Keep it up.
Nick- thanks man, big call considering the good stuff out there
thanks dan, i'll have to play it next time i paint them, really does suit the tone and mood!
fush- thanks man represent down undaaa
just some sketches for today! I'll have lots more art to post soon.
I'm in love with this sketchbook. If it would be printed, I would have to buy it twice - one for visual orgasms, one for my collection.
And then I would have to go back to the shop and buy the rest - just for having some great presents for the next birthday, christmas...
I want to see all the stuff in bigger, much bigger / higher resolution. Could you post some upload with all your pictures in a RAR- or ZIP-file in bigger resolutions, please? I beg you!