trying on a metaphor
blake kathryn
DEAR READER
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Three Goblin Art
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if i look back, i am lost
@theartofmadeline
todays bird
noise dept.
wallacepolsom
PUT YOUR BEARD IN MY MOUTH
#extradirty
shark vs the universe
d e v o n
Janaina Medeiros
Lint Roller? I Barely Know Her
taylor price
almost home
Xuebing Du
seen from Malaysia
seen from Argentina
seen from Malaysia
seen from Slovenia
seen from Italy
seen from Netherlands
seen from Malaysia
seen from Türkiye
seen from United States
seen from United States
seen from Malaysia
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seen from Mexico
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@lynhortonart
Raining Form 1-6, 2026
Raining Form 6, Transformation, 2026, Detail 1, 30 in h x 22.25 in w without hanging apparatus, mixed media on rag paper The image above gives the punch line before the story. I put it here because it represents the exhale after four months or so of working on this series. The Raining Form series was concerned with finding the balance between a defined form, photographs of that defined form,…
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Roots & Rivers, 2026
Detail 4, Roots & Rivers, 2026 I don’t remember ever having drawn on canvas except in Graduate School at CalArts. John Baldessari happened to come into my studio and see a drawing on canvas that I had just finished. He said that he loved it. This statement coming from someone who fought to keep me out of Graduate School. Paul Brach, then the Dean of the School of Art, fought to let me in. Paul…
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Two Large Drawings, 2025-6
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After The Monuments Crumble, 1985, lexan and lanyard, acrylic on rag paper on fomecor on wood frame,, 72 in h x 48 in w x 2.75 in d. Collection the artist In the early 80s, my motivic concerns beca…
Ten Large Constructions, 1984-1986, Drawings, and Installation in 1989
After The Monuments Crumble, 1985, lexan and lanyard, acrylic on rag paper on fomecor on wood frame,, 72 in h x 48 in w x 2.75 in d. Collection the artist In the early 80s, my motivic concerns became geometric. Like some teetering-on-middle-age artists, I was trying to figure out how I could put myself in the world, now that I had a child and was rolling through life, raising my boy, in a big…
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Unique 1-6, 2025
Throughout my art-making years, from the beginning to where the work falls now, the subject matter of the work has vacillated from a uncertain minimalism to unquestionable surface engagement. My travels have not been intellectually easy. I wanted to land and stay put for a while and I did when the hatched line drawings prevailed. The hatched drawings took over my drawing pursuit for several…
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My Tables, 2025- continuing series
Studio Tables: Studio Table 1, 2025 The longer I have this new small studio, the more I gather for subject matter for photographs. Because on the table I can watch once living vegetation and flowers change. Eventually to become dust. I am not waiting for whatever is on the table to become a certain way. I do not know how it will change. I have to be patient. The photographs become like my…
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Liberated Forms 1-20
Floating Leaf 1, 2024 This series of four drawings began haphazardly to reconcile language, image, and natural form into how they can come together sensibly. Once again I chose an Oriental screen p…
Floating Leaf 1-4, 2024-25
Floating Leaf 1, 2024 This series of four drawings began haphazardly to reconcile language, image, and natural form into how they can come together sensibly. Once again I chose an Oriental screen painting format to work with this subject matter. They are each 60 inches long and 22-1/4 inches wide. The idea for a leaf “to float” started with my reusing a photo of a leaf I had glued to the center…
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(via Transformations 1-4, 2024)
Transformations 1-4, 2024
Transformations 1, 2024, 37″ h x 36″ w, mixed media on photographic print on archival paper This post includes the photos I took in my studio of the drawings I did in Sol LeWitt’s studio. The photographs differ in lighting and resolution. To appreciate them without the story may now be a challenge, although, in the long run, the story of the process helps to understand them. Transformations 2,…
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Drawings Made in Sol LeWitt's Studio: Transformations 1-4, 2024
Transformations 1-4, 2024, each 37 inches by 36 inches, mixed media on photographic print; photo by @lewittstudio, Instagram A while ago, I contacted Carol LeWitt to arrange a convenient time to visit Sol’s studio in Chester, CT. I had never visited it in all the years since Sol took leave of us in 2007. She asked me if I wanted to work in it. I didn’t know that there was such a possibility and…
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Repeated Forms 1, 2024, 30 in h x 24 in w, ink and colored pencil on printed photograph After spending the winter of 2024 taking pictures of the drying leaves and flowers on my studio table, which …
Repeated Forms 1-6, 2024
Repeated Forms 1, 2024, 30 in h x 24 in w, ink and colored pencil on printed photograph After spending the winter of 2024 taking pictures of the drying leaves and flowers on my studio table, which turned into the photograph series Leaves and Flowers 1-100, 2023-24, I could only imagine myself drawing from the photographs. I am obsessed with natural form because I live in a city. And I want to…
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Leaves and Flowers 1 - 100, 2023-24
Installation at CrossMacKenzie Gallery, Washington, DC 2012
Opening Out, 2011, colored pencil on gouache on rag paper, 42 inches tall x 144 inches wide The first time my work was exhibited at the CrossMackenzie Gallery was in 2012 when the gallery was located on R Street in the DuPont Circle neighborhood. The drawing introducing this post was hung at the back of the long hallway-like space. The drawing invited the viewer to come to it. No one could…