Walker Art Center Assignment

To start with, this assignment was harder than I had expected. I found it hard to enjoy most of the pieces as they conflict with my personal artistic style and tastes, though there were a small few that held my attention for a few minutes. Overall, I think the current exhibits just didn't hold my interest so it was a less-than-thrilling experience.

Alright, onto the assignment. The piece I found that captured my attention and held it was entitled "Ceaseless Boundless Endless Joy" which was created in 2008 by Todd Norsten. It features an oil on canvas (roughly 7' x 5') design, the words of the title painted on white canvas; it almost is reminiscent of ripping masking tape and placing the pieces to form letters and then words.

What I found entrancing about this piece was how simple it was, but it still brought a smile to my face. It challenged me to search the depths of my soul to find that expression of joy just so I could relate to the piece. Personally, I viewed the art as a giant metaphor, albeit a little cliche, but still meaningful - life is a great big blank canvas and as you experience it, you need to find those moments of ceaseless, boundless, and endless joy to patch up some of the rough spots.

That being said, there was one other piece that caught my attention: Robert Irwin's Slant/Light/Volume exhibit. The way it was set up drew me in and I felt encompassed by the light. It was almost breathtaking because the piece had an end to it, but it felt like I could almost soar passed it and into an endless beyond. It's a little hard to explain my feelings when I experienced this piece, and this is why I posed the other as my assignment.

Anatomy and Personal Doodles

So I've found that learning anatomy of muscles and the skeleton in Life Drawing so far has really inspired me to doodle lately. Granted, I'm only able to do so when I find that little nugget of spare time nestled among my stressed-out-and-way-too-busy life style.

Lately, I've been using what I've learned to work on drawing human and humanoid creatures for a book I'm writing (entitled "Surrendering World" - please buy it if and when it gets published!), and I definitely feel that this course is helping slowly move away from the anime-like sketching I've done for years.

Also, I've been doodling on a couple pages of my personal sketchbook and calling those pages my "Creature Shop". Normally, I don't draw regular animals or monster-like animals of any sort because I feel uncomfortable in that drawing realm. But after working with the human figure in this course, I've felt truly inspired to learning the anatomy of other things whether they be real or of my own creation. (Sorry for the blurriness of the image. My hand did a little tremor shake when I took the picture. I'll take a better one to replace it later.)

Meet My Shell

Meet my shell. I'm currently using this for my drawing class in order to complete some assignments. My latest assignment was to do some research to find out more about it.

First, I discovered that it is a conch shell - I somehow subconsciously knew this, but needed to check anyways. The word "conch" comes from the French terminology for the Greek word that was used to described shellfish and their shells, and is now currently used to refer only to the shell. They are typically occupied by sea snails, otherwise known as gastropod mollusks. They are common in the Indian Ocean, as well as along the American side of the Atlantic Ocean all the way down to Brazil.

They range from medium to large sizes; some typical sizes are 7 or 12 inches. They are typically pink on the inside, and can range between creams and browns on the outside. A recognizable feature is its flaring lip with a stromboid notch near the anterior end. Most of the information that I was finding otherwise was describing the snail. I wasn't able to find much about the shell itself other than some human uses such as making horns.

Ode to Modeling Clay: How I Loathe Thee

So, for tomorrow's class we are supposed to have some muscles created out of modeling clay on our Manikens. Well - I absolutely detest it! I've done my modeling and it looks like shit.

I'm pretty sure I know why too. I've never been good at modeling anything with my hands, especially since I suffer from familial tremors. Basically, that means that any minor, detailed task that needs to be done with a person's hand is severely limited for me since I shake. Think Parkinson's disease except only in the hands.

I take medication for it, but it only limits the amount of shaking - not remove it completely. I've adapted to drawing because it's something I love doing in my spare time. As for modeling clay: I haven't worked with it since oh... middle school! That's over 10 years ago!

I apologize for ranting. Writing is just my best way for taking out my frustration if I don't want to be reduced to tears.

Reflections on Life Drawing

So in the past week for Life Drawing, we have been working on gesture drawing (seen to the left) and contour drawing, which I discussed a little in my last post.

For our last class, we focused on learning about the functions and display of the spine. At first when we learned on the first day of class that we would be learning about individual parts of the body to progress in our drawing, I wasn't too enthused.

Now that we have actually focused on a specific part, I've learned that it is extremely important. By doing so, we are able to understand how the body is functioning as well as concepts in drawing such as fore-shortening. We also were able to work on our line weight, which is something I would like to continue to do as I know I have a bit of a heavy hand when it comes to drawing.

The only thing I have a hard time appreciating is keeping your hand off the paper as you draw. It's supposed to make a more fluid movement through your arm as you sketch, but I almost feel like at least a part of my hand should touch the paper so as to keep an intimate connection. By taking my hand off the paper, I feel like I'm breaking the flow - that I'm losing that connection between myself and my subject.

Anyways, that's my reflection for this time around - more next time!

Contour Drawings

So for our last class, we worked on learning the differences between gesture drawings and contour drawings. After discussing them, we performed two examples: blind contour and continuous line drawing.

The one show here is my blind contour drawing, where the point is to draw the figure without looking at your drawing as you develop it. We took 30 minutes to do this. Personally, I'm not a fan of any blind drawing - I think this has to do with my impatience and my OCD for perfection. I want to actually look at my drawing and fix what I've done.

Anyways, we have to develop three words based on our drawings, so I choose:

• Heavy
• Smooth
• Death

If you want me to explain those in any detail, just leave a comment (critique) and I'll do my best to explain. Enjoy my craptastic artwork!