Friday, November 06, 2009

Image for critique

The first painting is in progress. I'm on the second attempt on the background and table. The painting is about 70% there. Any comments/critiques are welcome!
The next is the painting I recently entered in the ARC yearly salon. It's inspired by my Grandpa Ken's shed. I remember going in and smelling lumber and oil. I found the gas can and oil can at an antique shop in eastern WA. The minute I picked up the gas can and smelled it I was six or seven years old exploring his tool bench.


Rebecca Bush said...

I love the sense of storytelling in the painting of Grandpa Ken's shed still life. I wonder if you could inject some of that kind of visual storytelling into the tomatos/scale still life? Right now the setting is all old world European richness. Yet the items in your still life, the antique scale, the heirloom tomatoes, suggest American, maybe 1940's era. I might expect to see this on a nice hardwood table with an old fashioned farm parlor wallpaper behind it? Do you have any family heritage that you can pull from for ideas of a setting for this that would place it in a "world" of it's own?

susan hong-sammons said...

I love your unique sense of design in your paintings and find them rich with hints of stories that can develop anyway my imagination runs.
First time visitor - Thanks

Kathleen said...

Beautiful, rich color. I like the story telling that is starting to happen for you. There is something kind of bothering me about the bottom one, maybe its that there are four elements, or the glove almost parallel to the table. A bit of wrinkle around the wrist of the glove might help.
Or, if the glove had more of a 'hand' shape to it, the way work gloves get when you've worn them alot. A little bit of Grampa Ken.
Your paintings are just so wonderful!

Sarah said...

I've been mesmerized by the bottom painting since you sent out the announcement about your new webpage. It captures a nostalgia in a way that is totally unexpected - because we aren't typically sentimental about dirty leather gloves and oil cans. When I see this, I'm reminded of my grandfather and father in law - I think you'll find a lot of people who see this intuiting pieces of your own story and then projecting part of their own onto it. Very successful! I like that you have been bold with the light - the addition of a clean hanky and a vague, dark background really make this work. After I'm done romping around the main subject, my eyes start wondering and wondering "What else is back there in that darkness?" It's very mysterious, just like a workshop seems to a little kid.

I wonder what other stories you will be telling in future paintings?

I also like the top one, and Rebecca was really onto something with her comment. Perhaps the element that I find most distracting, though, is the dark horizontal line at the bottom. It grounds the painting, but it's also pretty predictable/uninteresting compositionally. Perhaps a bit of fruit could be spilling over the edge or breaking it up in some way. Or, you could have a cloth like the one under the garden gloves spilling over and adding some wrinkles. Another thought - would the shiny surface of the table pick up more reflected colors from the scale and/or fruit? Still, I love it. To me, this painting is the lovechild of a arty gourmand and a minimalist engineer.

jog said...

I too am really drawn to the bottom painting for its richness and sense of depth--within the frame and within the individual objects.

It seems to me that you tend to slightly weight your paintings to the left--not necessarily a bad thing, just something to be aware of.

I don't find the top painting to be quite as compelling in its entirety--although the individual portraits are. I do think Rebecca's suggestions might create a stronger emotional, story-telling content. There is something about the scale's bowl that I don't like but perhaps it is not quite finished--will there be some reflections inside too?

So, these are picky critiques-- I think that your exploring your sense of story telling (in addition to the hours upon hours upon HOURS of painting) has really expanded the content of your paintings and complements beautifully the continually growing richness of your technique. You are amazing!