Pink Line. Graphite and acrylic on canvas. September 2007.
My recent works and thoughts deal with memory; self-orientation by way of experience, exploration and experiment.
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Art Apart. Lauren, Libby, Sydney, Jamie and Elly.
1 comment:
Elly, just when I think I have you pinned...
Not to say that I would have restricted you to being only a realist in your drawing and painting, but to be fair I feel like most of what I have seen you produce tends to focus on people and tends to be realistic drawing and painting. (By the way, what ever happened to that painting I intended to buy at the auction? Of the person in the chair? I still want that....)
So the "self study" didn't surprise me when I first saw it (save for my continual awe at your sheer talent woman! You can draw!). I love to see that you have included the doll once again. Having heard a little about what it means to you and how it represents a sort of self-history, I love that it shows up in your work. It's not some little secret symbol-- instead it is an everpresent apendage to Elly. Your stern, focused look is ofset by what seems an assumption that this doll should be here, under your arm, in its place, you as the protector (or the doll as the guardian?) Anyway...
There are some really strong points of line quality that lead me throughout the drawing. The shadow on your apron at your waist, down your arm and following your thumb to the next strong shadow on your apron. Down your leg to the beautifully foreshortened bare foot. I fell like I want to spend more time around your face. I love the assymetry about your neck with your hair falling more on one side, exposing your opposite ear. But maybe it's a lack of harder shadows around your eyes (a point that naturally draws attention, and of course is so very hard to master) and neck. I think I would just like to see more depth around your face since it feels a bit more flat than the rest.
And as for the pink line piece. I love the contrast of this piece against the self study. Your diversity of style is fantastic.
With this piece I get a feeling of kind and patient instruction, and of robotics. It's like a child's jumbled daydream-- tutelage morphing into imaginary droidinous (yeah, I'm going make that a word) adventures. Or your first look at buildings out an airplane window.
You achieve a sort of simultaneous layering and flatness that seems at first totally simple and yet complicated beyond quick first impressions.
This may totally be a result of having so closely observed Summer's wax pieces (combined with Sunny Lee's small wax encaustic works) but I thought at first that you had used a wax encaustic as part of the process. For this reason I was a little disappointed at the material simplicity of the piece. But again, I would hate to be predisposed to wax simply because of another artist.
I'm loving what I see. I'm so glad that you are exploring such mixed styles. You never cease to astound me. Lovely.
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