After trudging through the ice and slush on Saturday, we dropped by the Met, and found Spring in the form of a Byzantine tapestry from Panopolis,
then to melancholy, with a beautiful ink drawing by Charles de La Traverse
and back to joy with a litho by Edvard Munch. A complete story, across centuries and cultures, encapsulated within a space of a few feet!.
To top it off, the “Ink” show is really superb, and gave me a new perspectiveve on Chinese modern art. As a bonus on Sunday, I saw a robin, one of the harbingers of the impending arrival of spring.
I had one more session drawing, this time with Claudia, of Museworthy fame. These are mostly with a mirror, and short 5-10 minutes. Having the mirror creates more complexity to the image and I am still working on the relationship in the drawings.
Its always a joy to work with such a wonderful model and I am looking forward to more.
Here is what may be the last drawings that I post this year, done in December. I spent a whole session at Spring Studio forcing myself to draw with my left hand. Its quite a task to switch and I definitely don’t have the hand-eye coordination in my left hand as I do with my right. It does produce much less intellectual drawing.
Still working on ceramics at Chambers Pottery. Here are 2 examples of a closed form, inspired in part by the exhibition of Ken Price’s work at the Met . The closed form is interesting, internal space and external being completely separate until an additional negative space is created to link them. Without the holes, the existence of the internal space is only a conceptual idea. These 2 are approximately 4 inches in diameter.
The recent visit of Comet ISON inspired the naming.
At Spring Studio, around Thanksgiving, Minerva Durham likes to give lessons comparing the anatomy of humans and birds. One of the exercises is to draw the model as a bird. Its interesting to try to change the proportions and poses to fit a avian anatomy.
I have been taking ceramics classes at Chambers Street, throwing things on the wheel, takes a completely different mindset to work that way instead of handbuilding figurative statues. You have the added dimension of time, as well as space in the construction, then process in glazing. Here is one that just came out of the kiln last week.