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THE FIGURE: STRUCTURE AND PAINT January 18-May 10, 2018. Massachusetts College of Art and Design. The figure holds enormous potential for meaning and expression in painting and drawing. Our focus is to understand how the parts of the figure relate to the whole, and most important, the appearance of the figure in relation to the space it occupies, in terms of color and value.
A series of drawing and painting exercises invite you to break down, simplify and abstract through direct observation of a model in a specific lighting condition. The exercises address the shifting nature of perception, in part through a drawing method that records the process of perception at the same time it seeks to solidify and pin down what is seen into a rectangle. The ultimate objective is to reduce the elements of pictorial structure to the essential.

THE HEAD EXAMINED  June 18-22, 2018. New School of Art, London. This workshop takes a reductive approach to painting the head, experimenting with how little information is necessary. We will investigate whether translating the head into simple, accurate shapes of colour and value can create a truer likeness than detailed description can. Universal proportions of the head will be covered. Light and the way it affects perception of structure will be emphasised, as well as finding specific and surprising colour. We will work from the model. Self-portraits and a study of historical and contemporary portraiture will be included. Some painting experience required; oil paint is the preferred medium. 

STILL LIFE: STRUCTURE AND VARIATION July 9 - 13, 2018. Winslow Art Center, Bainbridge Island, Washington. Still life will be the starting point for exploration of pictorial structure, space and invention. This will lead us to create images in the simplest terms: a series of shapes and colors made of paint (not a beach ball or a flower). We will generate permutations of the chosen motif through reduction and analysis. As we walk the line between accuracy and abstraction, we will see through and around the meaning of things to grasp relationships between objects and space. Mediums might include graphite, charcoal, ink, acrylic or oil paint, and collage. The personal voice of each painter will come through in the diverse results. Looking at historical and contemporary still life paintings will place the practice in a larger context. 

THE HEAD EXAMINED October 12-14, 2018. Townsend Atelier, Chattanooga, Tennesee. This workshop takes a reductive approach to painting the head, experimenting with how little information is necessary.  Students will investigate whether translating the head into simple, accurate shapes of color and value can create a truer likeness than detailed description can. Universal proportions of the head will be covered. Light and the way it affects perception of structure will be emphasized, as well as finding specific and surprising color. There will be two models from which to work to ensure that all students get an excellent and up-close view of the head.   Self-portraits and a study of historical and contemporary portraiture will be included. Some painting experience required; oil paint is the preferred medium.

 
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