I haven’t had the chance to sketch much in museums, but this spring we went to the Musée des beaux arts de Montréal and spent 3 hours there.
Bust of Cardinal Leopoldo di Medici
Frans Snyders
Antwerp 1579 – Antwerp 1657
Still Life with Game Suspended on Hooks,
a Lobster on a Porcelain Plate,a Basket of Grapes, Apples, Plums and Other Fruit
on a Partly Draped Table with Two Monkeys
For my birthday I purchased myself a camera. I got the chance to take pictures of my sister‘s back yard while staying at her house.
I was struggling a lot with Hermann & I, fall 1994. It was a very complicated process, and it took me 5 weeks to start actually working on it.
Once I had the image I decided to work with subtle variation, and though of printing black on black. However a friend of mine tested her print on glacine (a thin shiny transparent inter-leaf paper).
Once I saw it I fell in love with the effect it created. The delicate transparency and the contrast of the shiny paper and relatively mat ink.
Right now I need to find a way of presenting it, since the transparency adds another dimension.
Hermann & I, fall 1994, surface roll on glacine, edition of 7, 2011.
Hermann & I, fall 1994, detail.
Hermann & I, fall 1994, detail.
Hermann & I, fall 1994, detail.
I have subscribed to Canadian Art. I did not know what to expect as I have only had art books and never art magazines in my hands.
Surprisingly there was an article about my painting teacher. She is a very know artist in Canada and has an extensive career. Funnily the exhibition that is reviewed is the one she was working during the year.
Her work has been previously concentrated on urban landscapes and their interpretation, this time she is working with abstractions as well as sculptural elements.There is a lot of colour in her works, saturated primary or secondary colours.There are 3D elements as well as light relief work.
Sadly I can not say that I relate to her work. Maybe because I know her as a teacher and this experience is tinting my opinion. It seems to me full of personal codes, symbols and shapes that I have a hard time discerning. However one piece that is featured in the magazine is more touching ot me:
Fear of Living Too Long, 2010 Oil on gessoed paper 49.5 x 38.1 cm.
I love the composition and stroke movement as well as the cyan colour.
I truly love sketching. Especially when bored. My sketch books are filled with back of heads of my class mates.
Once I went to see a drawing tutor, who spend 45 minutes explaining how a sketch should look. That the lines should be dynamic their width must change…I was not happy that day, but luckily practicing for years is starting to give me the needed ease.
2011
2011
2010
2007
The plates that I posted about here, gave me this print.
It is one of the way I printed it. I have also done a surface roll and I think it came out better.
It was a time consuming process as Puretch is finicky. One thing that I learned is that it is very difficult to work with it once the plate has texture. It seems not to adhere properly.
Hermann & I, fall 1994, edition of 7, 2011.
Hermann & I, fall 1994, detail.
I am working on a project right now. I am trying to get a little business up and running.
A couple of months ago a friend of my mother’s approached me to decorate a nursery for her baby. She’s heavily pregnant and wanted something very cute very fast. We opted for a thematic mural. Since then I had the opportunity to work on another wall art.
I really adored the experiences both time, and decided to go for it.
Here is the LS Studio website, designed for promoting my mural art, and other things like classes and commission portraits.
This year I learned how to work with Puretch. It is mostly used for photo digital intaglio, but one of the great things about it is that you can expose any drawings or marks onto a plate thought that process. So here is Herman & I fall 1994.
I worked with Rorschach inkblots that I exposed onto the Puretch. There are three layers of inkblots, the last one being the print from sugarlift applied onto acetate.
I’m on a boat.
15″ x 22″ Intaglio etch on BFK, 2011.
Details
This is the biggest intaglio etch I’ve done so far. It is a collaborative project – a cadavre exquis done for Digital Itaglio class. I’ve etched the upper part while my friend did the bottom. There was quite some work involved after, in order to adjust the values. Mostly sugar lift and white ground with digital elements.
a vague sense of unease 