Lint Roller? I Barely Know Her
PUT YOUR BEARD IN MY MOUTH
Sade Olutola
I'd rather be in outer space 🛸
KIROKAZE
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d e v o n
let's talk about Bridgerton tea, my ask is open
Aqua Utopia｜海の底で記憶を紡ぐ
Jules of Nature
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pixel skylines
tannertan36
DEAR READER
Love Begins
wallacepolsom
Cosmic Funnies
2025 on Tumblr: Trends That Defined the Year
Sweet Seals For You, Always
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@krystynyyyy
"Beautiful bodies utter the same truth: because the body, all of whose members are beautiful, is much more beautiful than the individual members by whose harmonious arrangement the whole is completed, although taken one by one these members are beautiful."
St. Augustine
I’ve also been experimenting with a small series of paintings on photographs. Some members of my family were going through old pictures from the 40s and 50s of my grandparents and there was a huge pile they were going to throw away. I took that pile and decided to ‘rescue’ them.
These are incredibly simple paintings, but somehow, its emotionally exhausting making them. And I’m not doing anything new under the sun, but I find experimenting with these interesting and slightly rewarding- I’m trying to breathe something new into them- or maybe not. Some of these people are dead and gone and in the past- and that’s alright.
I’m trying to figure out my present and future based on my past because obviously that’s something I’ve been thinking about intensely ever since graduation. One of the only things keeping me sane since I got back from Europe is music. I’ve been listening to a lot more lately and expanding my music knowledge. All of the songs I’ve been listening to amazingly seem to be incredibly relevant to what’s going on in my life right now and many times there will be lyrics that will pop out at me and I feel like I have to do something with them- like shout them out, even if its just to the void of the internet. My immediate reaction was to pair those lyrics with these pictures and I aim to do so on instagram for the next few weeks.
(crappy photos, but you get the idea)It also turns out that he helped me give words to my work. After I got back from Europe in July, I realized that my work is really about the difficulty of relationships with people. Yes, its about the togetherness of people and about community, but it also very much deals with the difficulty to connect with others- Elijah’s words. That’s something I want to push more in my work- a strange sort of disconnect that some of us feel among some people- I think that’s always been in the work, but now I can try going about it different ways- I have different ways to describe it and I understand it better thanks to Rev. Dr. Smith.
There’s a horizontal sense of community in the people I paint (which was always emphasized with smearing them together- into one being) but a disconnect between them and the viewer (emphasized by their backs being turned to you). Now I’m not smearing my people together, but going a more traditional route and gaining inspiration from early renaissance paintings of crowds- but there is still a disconnect with them and you (me) because their backs are still turned and I’m playing around with not showing any of their limbs or visable skin- for all the viewer knows, they’re just piles of clothes. But there’s so much more to them. And during my trip, I realized that there are remarkably some people where I don’t feel the need to paint their backs.
Studio Update
Thanks Alex for inspiring me to update this thing! I think it’ll be helpful to write this all down.
The first thing I tried to make after graduation that is relevant to my practice was this drawing- I had the privilege to go to alum Elijah Smith’s church in Scotland over the summer and I was excited to try to continue making my church drawings in a different country and in a completely different church. Turns out I’m a little rusty and his church isn’t very conducive to drawing the backs of people- I think that’s symbolic though.
Part of what I'm about is seeing how I can paint the same thing differently instead of different things the same way.
Alex Katz
Alex Katz
We went to CB1 gallery on Sunday which was my first time there. The first space we entered (not pictured here) wasn't too interesting, just paintings/ drawings hung up in a line in chronological or elder from when he made them. The next two spaces had more interesting paintings but were all the same size hung around two rooms. One of the shows consisted of miniature Rothko like paintings that some were paired as diptychs or some just read as such. The most interesting spaces were the sculpture and painting shows. Most of the sculptures were glass with paintings in them and were paired with canvas paintings. The glass sculptures had a smart way of lighting them with small clamp lights hanging out in the back of them. The sculpture show was good to see in light of me showing with a sculptor. Equal footing was given to both the sculptures and the paintings because they were spaced equally with all of them complementing each other.
Savannah!!
Evening - Maurice Pirenne, 1929
Belgian, 1872-1968
Pastel on paper mounted on panel, 23.5 x 21 cm (27 x 23 cm
La toilette (Celle qui se peigne)
Henri de Toulouse-Lautrec (1864–1901)
The Ashmolean Museum of Art and Archaeology
How come no ones ever reminded me about Gustave caillebotte before?!
And while my glory passes by I will put you in a cleft of the rock, and I will cover you with my hand until I have passed by. Then I will take away my hand, and you shall see my back, but my face shall not be seen.
Exodus 33:22-23
Kjartansson's dad once told him during Christmas that "sorrow conquers happiness" and he thought he'd make a song about this romantic sadness in the world.
Gotta keep up the practice even during the holidays. It’s kinda weird to do this for the first time at my home church. Redemption hill means so much to me that I’m still discovering what the church drawings mean to me. Putting this in that same context adds something else to it.
Critique Reflection #3
What is the purpose of a critique? Which particular critique conversation so far was most helpful, useful, or constructive for you as an artist? How did it inform or speak to what you do as an artist? Please describe.
The purpose of a critique is to get informed as to what’s working and what’s not working in your art. The first crit of the 6 works was really helpful because I could get an honest first impression of the work and Alex’s comment about longing blew my mind. In the second crit, it was fascinating to see multiple profs dealing with my work at the same time and each one having a very different opinion. Anderson said that’s a good thing to have people disagree about your work. Through all this, I’ve realized that the audience response is really formative to the work itself as I’m more concerned with formal qualities and exploration. But knowing that people are getting things out of my work that are incredibly relevant to me is amazing.
What critique session was most challenging for you so far? What about the conversation challenged you? Please describe.
Joe playing devil’s advocate in the second crit was pretty challenging but not at all disheartening because its Joe and I get where he’s coming from. I was so glad Dan was there because he knows the most about my work out of anyone, and it was really encouraging to hear him defend it. And again, its fascinating to hear multiple people’s discourse about it. I thought during the crit that I didn’t have any answers for Joe and that I didn’t have to talk much at all, but progressing in the work more, I’ve realized that I could have defended myself too and that I now have answers to his questions.
What is the role of the artist and the role of the viewer in the critique? How do you feel in these roles? What is the most meaningful viewing experience you’ve had so far this semester? Please describe.
The role of the artist is to ask questions and to direct the conversation if they want. The role of the viewer is the listen and to look and to give advice or their thoughts if they deem it important. Sometimes I feel very uncomfortable in both roles. I like just hearing what others have to say, but when I was able to really direct one of my advance studio practicum crits, that became the best crit I’ve ever had. Its too easy for me to get complacent and to just listen though.
Do you think you were generous to your classmates in the critiques so far? Why or why not? What do you think would help you to be more involved and engaged in the conversation?
It takes a while for me to process something, especially art, and especially when I’m not as familiar with the work and especially in front of a lot of people. I’m more helpful in small groups when I’ve had a lot of time with the work. When I have something I really want to say to someone, I’ll tell them later in a smaller setting.
What does it mean to you to make art in a community? How does artwork made by other artists affect what you do as an artist? How can you take better advantage of the built in art community you have at Biola?
Being in the studios and being around art majors more often has been so helpful- we’ll always debrief together after crits in the studio or at dinner, and that’s always a great time of community and growth. I’m a huge advocate of table fellowship so if anyone wants to get dinner next semester, sign me up. Artwork made by other artists can foster new ideas for concept or materials. Seeing other people’s work and hearing them talk about it, or hearing other’s talk about it sometimes gives me ideas to talk about my own work.
Artists in/out of their studios is something I'm planning on exploring a lot over interterm.
