this is the guy that taught me figure painting when i was at The Art Institute. it is good to hear his voice, i can hear my voice as a teacher through some of his words. and i was directed to this video via a long lost friend's recent visit to this blog in search of information on another teacher's teacher George Demetrios. to paraphrase Audrey Flack: ' one of the things about artists is we honor our teachers.' more about Domenic later, there are a lot of video demos by him that i have got see.
Tuesday, March 30, 2010
Wednesday, March 24, 2010
Tuesday, March 23, 2010
continuing the idea of a refrigerator bio, inspired by my friend Chan's 'life bio'. i've tried to incorporate fred's constructive criticism: hold the camera still, add more light. critique/comments are welcomed! i would love to see what's on your fridge, if you care to share. best, deb
Monday, March 22, 2010
1. Who did this? from my father when I was 10. then from my 8th grade art teacher Mr. Lillie. terrified I raised my hand. He just looked at me, gave me more paper, and made sure I had plenty of charcoal. This happened again in art school when I presented my slides for a final portfolio. The old terror of George's first critique, always my first response, I prepared myself for the 'slap'. Instead Henry Altmann praised my efficient use of the brush to draw with the light.
2. Where's the edge of the form? Here? or Here? or Here? This from John, an art school boyfriend in response to my figure drawing. My first response, disappointment, fear of loss of love, just because I didn't 'see' as he saw. His critique was later echoed by Peter Hoss, my art school drawing teacher, when he asked me if I was looking at Giacometti's drawings. yes, I was trying to incorporate Giacometti's use of line into my work. Peter kept poking his finger at my drawing: is it here, or here or here? Don't just copy Giacometti, understand his seeing. That's when the lightbulb went off. The 'edge', the 'line' wasn't anywhere out there, it only existed on my page. That's when I fell in love with the line, and came to understand that everything exists in space, infused with light and my drawing 'style', this use of line was simply my experience of 'looking'.
3. Tell us about your work. This from my final portfolio review at The Art Institute of Boston. I critiqued my work with all of the negatives. I had a concentration of still life charcoal drawings that were black and smudgey, and I was trying to combine a strong abstraction with figuration. I was feeling as if I had failed in my attempt. "But that is WHAT YOU ARE DOING!" was the resounding chorus. I cried. My sculpture review was abysmal: everything happens on the surface. Today, almost 40 years later I do 'flat sculptures' through my use of glass and metal leaf, they walk a line between figuration and abstraction.
4. Don't hold your brush in your mouth!
5. Don't point your brush up with your mouth!
6. Why are you starting over? Who said you can't use an eraser?
7. Use a mask when you sand your paintings!
8. Don't wear your good clothes when you paint!
9. You never finish your work. Why don't you finish your paintings? They are finished. They 'don't' look finished. and this is one of the cornerstones of my work: to leave the work as if i have just stepped away and could pick the brush up again to 'finish'. I like this tension, and the introduction of a sense of being 'in the moment' of creating. the most frequent critic of this 'not finishing' was my father George. The last time he saw my work we were looking at a 7 foot standing self portrait that took me a year to do. the first comment by me to him was "I know it looks unfinished, but I like it this way." George said: "I do too." and we stood in silence looking at my work for one of those 'timeless' moments. was it a minute or an hour?
Saturday, March 20, 2010
Goodmorninggloucester is one of the best community blogs around. There's a lot of fun and local color going on over there. and my friend Paul (capeannpainter) loves to 'horse' around. Check it out and if it suits your fancy, follow. I read it every day and sometimes several times a day.
best and happy Spring!
Tuesday, March 16, 2010
Sunday, March 14, 2010
Monday, March 8, 2010
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they like my chair video thoughts.
Sunday, March 7, 2010
"Art is really a battlefield. Only when he no longer knows what he is doing, does the painter do good things."
Edgar Degas, French Impressionist
and some music that I want for my studio archive: Sade. have always loved her work, and 'soldiers of art' are 'soldiers of love', in that if you are called to make art, you will make art for a very demanding mistress. a lover that will have no one between, that will wake you when you want sleep, that will delay you when you have appointments, that will make you not feel 'well' when you are not dancing with the muse. and muse seems too nice a word. dancing with a muse is neither romantic nor poetic. it is a hungry ghost in need of a door into this realm of reality. and when she truly decides to dance with, then through you, it is better than an orgasm.
the muse doesn't dance every day, she is fickle in her love, and never obediant. i spend most of my days in the practice of seeing and drawing, so my hands, eyes, and heart are ready, whenever she decides to come, because that is her nature.
Tuesday, March 2, 2010
copyright debbie clarke 2010
marker, aluminum and silver leaf on shaped/incised aluminum flashing
Monday, March 1, 2010
molded, incised aluminum panel
gilded with aluminum and 925 silver leaf
copyright debbie clarke 2010