Diego Duran @dduranart - Tumblr Blog

Diego Duran - “Summer Bliss” 2021

Artist Statement-

This series of paintings is an exploration of short brush strokes and dots. I will make a series of 6 acrylic paintings that depict sentimental and beautiful objects; cactus, seashell, and flowers. In these abstract paintings, you can see that multiple brush strokes and dots on the canvas gives it a mosaic design , achieved by a process of painting multiple dots and shorts strokes into the canvas. In some instances, you can see that I applied a lot of paint to show bright colors, leaving my work to pop out , this style mimics how I am feeling when Im painting.

My painting will explore bright, eye catching colors and effects of mosaic-like short brush strokes. I focused on nature. One of my painting catches the beautiful sunset in a desert. Another painting shows a beautiful beach with a seashell. This technique is influenced by artists like Vincent Van Gogh known for his quick and short brush strokes. My paintings are purposefully painted with short and precise dots. My painting with multiple dots creates an 3 dimensionality painting that pops off the canvas and mimics a mosaic tile look. My main source of inspiration is happiness and excitement. Happiness and excitement helps me create paintings that are filled with beautiful colors which bright and pop out. I was bit nervous and afraid because this was my first semester in painting class. But I let go of my fears and painted these 6 paintings which express my feelings through the semester. All of my paintings in my series are 16x 20 in canvas. The dimension of the canvas fit perfectly for each painting. Also I had bit of frustration during this pandemic. But I tried to show a happier emotion in my paintings.

luisrspring2021

Luis Reyes, Somatosensory, 2021, acrylic paint, hot glue, air dry clay, twine, modeling paste, plastic saran wrap, and washes of matte and gloss glue on canvas board, 5x7 in.

For my self directed work I made a series of 6-8 abstract paintings using multicolored swatches of colors in varying textures, patterns, and configurations that explore contrasting color, and associations color have with texture. I worked on multiple 5 x 7 inch canvas boards while using a variety of common and unconventional materials such as modeling paste, hot glue, air dry clay, twine, transparent plastic sheets, as well as found objects used either as a foundation for texture or an overlay for sensory stimulation.

Drawing inspiration from naturally occurring patterns and environmental phenomena, my goal is to explore the intricate ways in which nature is constantly changing and its relationship to the human senses using texture and color to simulate a surface level of synesthesia. Just like a shark inherently knows to stay away from the venomous black, white, and orange patterning of a lion fish, do humans have similar deterrents? Using artificial materials like plastics and silicone to simulate natural pattern I am exploring our connection of sight and touch shape our understanding of color and texture and its emotional impact? Using semi-dried paint underneath a layer of saran wrap to create a piece of art one can play with gives a relaxing, stress-free experience while hardened modeling paste settles into sharp ridges and spikes may do the opposite, this series is exploring how humans have evolved to having a sixth sense, emotion. I want my pieces to be a survey into the different associations humans have with stimuli.

screechingwagonduckhoagie

Tyree lark

"Human & nature", 2021

Artist statement:

I'm doing a fusion of the human with nature. As a photographer, I love taking pictures of people and flowers. Turning these figures with botanical forms. These hybrid combinations will create new configurations and forms, using a fast-painterly language of color, brushstrokes and graphic composition to express my ideas and emotions. Here I am showing my top 8 paintings and art styles I've tried in my series in class. "Human & nature" with different canvas sizes like 11x14, 12x16, and finally 16x20.

spicycurrycrab

These look really awesome! Now that they’re all together, I’m seeing a lot of purple hues, even in the skin tones. These all work really well and complement each other, like a mosaic, or stitched together squares of an afghan. I really love your color choices and your execution was such an interesting process to see. Amazing work Ty

spicycurrycrab

Shanice Parris, This, 2021, acrylic, denim, twine, thread, shoelace, feather boa on canvas, 16.5x12in

Shanice Parris, That, 2021, acrylic, denim, twine, thread, feather boa on canvas, 10inx10in

Shanice Parris, There, acrylic, twine, friendship beads, artificial flowers, feather boa on canvas, 16inx8in

Shanice Parris, Here, 2021, acrylic, chiffon, artificial leaves on canvas frame, 16inx16inx16in

Shanice Parris, So On, 2021, acrylic, twine, feather boa on canvas, 6inx6inx6in

Shanice Parris, So Forth, 2021, acrylic, twine, artificial leaves, feather boa on canvas, 12in round

This series of paintings is an exploration and complete utilization of my intuition. In these abstract paintings, the eye is led around the composition through organic shapes that flip between positive and negative, achieved by a process of cutting into the canvas. In some instances, the wood frame is exposed, leaving my work vulnerable and fragile, indicative of my own feelings during the creative process. A mixture of denim material, chiffon, feather boas, artificial flowers, twine, thread, and other craft materials add a textile contrast that flows against the rigidity of tangibility.

A main source of inspiration for this series is frustration. Frustration with the known vs the unknown, frustration with restriction vs freedom, and frustration with the flux of time. In contrast, the outcome of my work is bright, playful, fuzzy and upbeat– the tension between how actually I felt and how I wanted to feel.

Each piece varies in size and shape; the largest being a triangular 16x16in canvas, while the smallest scales at a hexagonal 6x6in canvas. The presentation is positioned against a burgundy rose background.. The juxtaposition of colors allows my pieces to work with, or grossly stand out from my bedroom wall.

My work in this series will remain nameless, a strategy inspired by Dianna Molzan, which allows the viewer to draw conclusions and make connections about the pieces without direction from the artist. Using this concept, and doing away with a completely untitled project, I titled my pieces This, That, Here, There, So On, and So Forth; all of which are empty forms of speech when standing alone, needing an object or event to attach itself to. Leaving my work open to interpretation encourages a balance or imbalance of the relationships between the fluidity of feelings, and what keeps us grounded in reality.

len493

KI. Painting IV. Spring 2021. Artist Statement

“Can Touch” project. April 2021

As the title suggests, you can touch this group of nine mixed media paintings created in the Spring of 2021. My goal for this project has been to experiment with line, pattern, viscosity, and inherent qualities of my materials to appeal to tactile sense of my viewers, something that has been absent during our socially distant life in 2020-21 . During the pandemic, the main mode of living has been through a frequently sanitized computer screen, no hugs or handshakes allowed, better not to touch anything unless one wears a pair of rubber gloves. To counteract the virtual reality of our screen-based life, I have built upon my inspiration from a variety of talented textile and mixed media artists such as Sheila Hicks and Polly Apfelbaum, who embrace the materiality of the world around us and whose creations look alive in their glorious colors and rich textures. Sheila Hicks celebrates a process of making based upon the centuries-old textile cultural traditions, while Polly Apfelbaum accepts and incorporates into her process the ever-changing nature of her fabric medium that “can never be totally controlled, … and has a mind of its own”[1]. Working on my pieces, I have consciously focused on the surface texture as I adopted a multi-layered approach through a variety of artistic and day to day materials such as acrylic paints and additives, canvas, wood, colored paper, inks, plaster, fabric, leather, thread and yarn, glue, plastic and glass. Mixing up rough and glossy, liquid and solid, fuzzy and smooth, I have embraced chance, taking cues from my materials, in order to appeal to one’s sense of touch , that “… comes before sight, before speech; it is the first language and the last, and it always tells the truth”[2].

[1] Artnet [2] Margaret Atwood

spicycurrycrab

It’s lovely to see your finished body of work! Your artistic style is so distinct and intriguing, and the way you are able to articulate yourself is really amazing! I also see the additions you made to some pieces, that work so well. Incredible work, and I hope to see your work in person some day Katherine :-)

cbspring2021

Charles Butler

Abstractions, 2021

Acrylics, 16 in X 20 in; 24 in X 30 in; 30 in X 36 in.

Artist Statement:

The foundation of these works visualizes a conceptual language as a means of documenting the artists’ emotions through instinctive paintings of colors and shapes. Tools of the trade that compose these abstractions are acrylics as a choice of medium, color palettes that are archived through photographs, and a canvas servicing as a painting surface. Acrylics are very adaptable means that can be constructed and reconstructed within the surfaces of the canvas, providing my mark-making techniques of geometric and organic shapes the opportunity to transform with a variety of colors. Using whole geometric and organic shapes, in contrast towards free flowing shapes, are constructs that I personally gravitate towards. While painting, colors instinctively transform into certain geometric and organic shapes, primarily circles, squares, and rectangles. Experiments with the opacity also provide new opportunities to arrange and layer shapes throughout the canvas. As it develops, a grid-like composition builds, becoming a two-dimensional painting with elements that uses the surfaces of the canvas for a composition, or, painterly structures bleed into the edges of canvas as a means of transforming the painting into a three-dimensional sculpture. When curating my colors, these palettes extend from my paintings, housing these fashioned acrylics making-way towards the canvas via brushworks. Afterwards, they are documented and repurposed as photographs in order to preserve the records of the procured paints and colors, while functioning as their own bodies of work. Ultimately, the canvas exhibits the final work, encasing all these personal visual identities of instinctive mark-makings, colors, and shapes.

Diego Duran - “Summer Bliss” 2021

Artist Statement-

This series of paintings is an exploration of short brush strokes and dots. I will make a series of 6 acrylic paintings that depict sentimental and beautiful objects; cactus, seashell, and flowers. In these abstract paintings, you can see that multiple brush strokes and dots on the canvas gives it a mosaic design , achieved by a process of painting multiple dots and shorts strokes into the canvas. In some instances, you can see that I applied a lot of paint to show bright colors, leaving my work to pop out , this style mimics how I am feeling when Im painting.

My painting will explore bright, eye catching colors and effects of mosaic-like short brush strokes. I focused on nature. One of my painting catches the beautiful sunset in a desert. Another painting shows a beautiful beach with a seashell. This technique is influenced by artists like Vincent Van Gogh known for his quick and short brush strokes. My paintings are purposefully painted with short and precise dots. My painting with multiple dots creates an 3 dimensionality painting that pops off the canvas and mimics a mosaic tile look. My main source of inspiration is happiness and excitement. Happiness and excitement helps me create paintings that are filled with beautiful colors which bright and pop out. I was bit nervous and afraid because this was my first semester in painting class. But I let go of my fears and painted these 6 paintings which express my feelings through the semester. All of my paintings in my series are 16x 20 in canvas. The dimension of the canvas fit perfectly for each painting. Also I had bit of frustration during this pandemic. But I tried to show a happier emotion in my paintings.

Painting Series

I love how my painting series came out. I had fun painting. I overcome some struggles during painting. But the end result came out perfect.

Research Post - Agam (Yaacov Agam)

Yaacov Agam - (born 11 May 1928) is an Israeli sculptor and experimental artist best known for his contributions to optical and kinetic art.

https://www.moma.org/artists/79?locale=en&page=&direction=

Israeli, born 1928

cbspring2021

Pallets, acrylic on paper, 9 in X 12 in, 2021

dduranart

I love how it turn out. The orange and the green gives me tranquility feeling. I enjoy looking at it. Keep up the good job!

4th painting - desert sunset with a cactus

I got aspired by the warm feeling of a sunset in the desert. I love how it turn out.

I Drew this and used ink.

Research-

Emma Biggs

Emma Biggs is a professional mosaic artist. She set up the influential company Mosaic Workshop in 1987, which went on to be the UK's most thriving mosaic studio. She was been working solo since 2006. Emma's work is most closely associated with an interest in colour and pattern. She is currently working for an exhibition of work 'CUT' – to be shown in 2014. She began as a fabricator and mosaic maker for architectural contexts but her personal work has increasingly focused on material culture and the social history of making.

http://www.emmabiggsmosaic.net/03_work.html

A gallery of artistic mosaics, recommended mosaic books, as well as information on mosaic classes and custom-designed mosaics from mosaic ar

mahinourabdou

WEEK 7 POSTS

POST #1

Going through a lot lately (trauma was included at the time). Depression and stressful thinking can really hit you into a train wreck mess of nothingness and leave you looking like scrap metal waiting to be burned; that’s how my heart felt just only a few days ago (three to four days to be exact) I do this active posting and was supposed to, but I’ll take my time and have enough confidence to add more posts towards the end of this week (hopefully).

NOTE; I used a skinny 0/0 round brush to create the Spiral Of Thoughts and the reddish part of the canvas is the underpainting progress that awaits to be painted, just so everyone would know before you think its tge palette knofe that worked out the spirals; I had the brush in my hand while I took the photo because it was late. I used the palette knife to spread the black background that would be glazed and wet enough to bring in the Spiral Of Thought to life.

So, here is a progress of my upcoming last piece from chapter 1 of “The Golden Recovery” and wow I can’t believe that I am making progress with this series that had been paused for quite a while.

dduranart

I really love how it’s turning out. It’s amazing!

richardpaz

Research Post

I've been thinking more about abstracting my paintings. The professor suggested I look at Sascha Brannig, and her work is so good. Sascha puts her figures in these abstracted worlds where they are usually twisted or contorted by unique environments. She often sculpts figures in her studio and then abstracts them on her canvas. These abstract elements help enhance the message of the work.

I also found an article that compared her work to Jan Van Eyck and Hans Hoblien. These were two Northern Renaissance painters who were known for their tromp l'eoil techniques making their paintings famous for their time. Sascha Brannig is continuing this tradition by using hyperrealistic elements in new ways that bring new dimensions to how the overall work is read.

richardpaz

Progress Post

I started painting 2 this week.

What does it make you feel/ think about?

dduranart

I really like the colors you used and the hand is well detailed.

Research post - Joe Zucker

In the 1970s, Joe Zucker experimented with what has become his signature technique: gluing cotton balls to canvas in a gridded arrangement and painting over them. Resulting in a highly textured surface reminiscent of mosaic, this technique radically transforms the surface of the canvas and challenges the “flatness” that critics like Clement Greenberg championed as essential to the discipline of painting. In his compositions, Zucker constructs simplified geometric renderings of subjects like houses and sailboats, where the subject matter serves only a vehicle for the artist’s exploration of formal qualities.

https://www.artsy.net/artist/joe-zucker

Find the latest shows, biography, and artworks for sale by Joe Zucker. In the 1970s, Joe Zucker experimented with what has become his signat

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