[frogdilf-archive]

ocean vuong / john green / donna tartt / mac’s love letter to dennis / richard paul evans / holly black

[godlessondheimite]

the range of these selections...

[weltenwellen]

Louise Glück, from “Averno”, Poems 1962-2012

[podcastwizard]

comics that make me cry a little (first comic attributed to lynda barry. second comic attributed to pictures for sad children. third comic attributed to grebcomics.)

[blastedheath]

Paul Nash (English, 1889-1946), Cloudscape, 1939. Oil on canvas, 52 x 63 cm. The British Postal Museum & Archive.

[lifeinpoetry]

Look, we are not unspectacular things.     We’ve come this far, survived this much. What

would happen if we decided to survive more? To love harder?

What if we stood up with our synapses and flesh and said, No.       No, to the rising tides.

— Ada Limón, from “Dead Stars,” published in The Cortland Review

[butternaan]

elia pellegrini

[janeforest]

[coffeeforthemoon]

Musée Rodin. © taylranne

[calmcow]

Greta 2020 “Cycles II: Day” Acrylic on painting paper 42.5cm x 61cm

[calmcow]

Greta  2020 “Cycles I: Night” Acrylic on canvas 44 x 64 cm

[calmcow]

After some testing of what to fill in the middle I think I’ve settled on three leaves, I do actually quite like them as an additive layer if I were to just stick them on but I think it does interfere with the cohesion, so I’ll be painting them onto the surface.

- Greta

[calmcow]

Some process shots of my expansive work over the past week, I was really inspired by Sue William’s work, particularly her use of colour, shape and negative space to convey meaning. It is definitely not a super expansive work, but I wanted it to act as a reflection of my reductive work, and act as a comparison piece rather than just a stand alone.

I particularly love the look of the photos in progress, as it moves from reductive to expansive and the contrast of the new colours gives the other colours greater vibrancy.

I am still struggling to figure out what I want to put in the centre of the piece, I quite like it empty, but I think an abstract figure or something similar could complete it.

- Greta

[calmcow]

Currently in the process of trying to stretch out my reductive work, the gesso’d canvas was stored folded, but it’s the only canvas I have so there are creases in the work to try and get out.

I’m really happy with it compositionally, there are a few tweaks and touch ups left but I think it really captures the transitional effect I was going for and is rememiscent of Hilma af Klints work that I was inspired by.

- Greta

[polkadotmotmot]

Kazuko Inoue - Untitled, 1982

[indefenseofart]

Yinka Shonibare’s The Swing (2001) –a work that is a direct adapatation of Jean-Honoré Fragonard's  L'Escarpolette (1767). Shonibare’s headless mannequin–an allusion to the downfall of the aristocracy post-French Revolution–is dressed in African print Dutch wax printed cotton dress, a historically burdened fabric that represents the diaspora and postcolonial hybridity that is central to his practice.

[free-parking-blog]

Andy Goldsworthy, progress shots, 1984-1986

[calmcow]

Some progress on my reductive work, I was really inspired by Carmen Hererra and her precise geometric work and simple use of colour, and tried to incorporate that into my piece. 

Have done a bit of experimentation with the composition and colour palette of the final piece, and decided upon a slightly simpler composition. I used careful measuring and a compass to mark out the phases, aiming for a parabolic grouping of the phases to represent the lunar cycle. 

I also settled upon a cool colour palette, as while I loved the warm tones they seemed less similar to the night sky and the phthalo blue and black combination was quite spectacular in person (unfortunately doesn’t show up as well as I’d like in the photo).

I also experimented with using some medium for a glazing technique, overlaying another layer of just phthalo and medium over the dark base layer to give it sheen as well as a greater depth of colour, making it somewhat un-uniform on closer inspection. I left the dark of the moons matte to give a greater differentiation between the sky and the phases.