So this weekend
So this weekend, I pause on painting and begin writing. Then pause on writing to paint during the week, then writing over weekend and fall break again? I need quite a few more paintings and more to the cabinet of curiosities study that I have. But writing first. So writings..to write and address bold questions, also.
Anywho, notes to get organized before I begin this process:
Illustrations and my work? If illustrations are images that accompany writing, than my paintings are not illustrations. What I'm doing is distinct.
But I need to articulate in what ways illustration is different than my paintings.
For Illustrations, in this definition, the weight is on the text, and illustrations serve the text. But in my work, the weight is different --I could remove the text much more fittingly than I could the paintings. More time is expected for paintings than for an illustration.
But there is a relationship between a written narrative and a narrative in images. How can they both be complete and what is their relationship to each other?
There is a lot of image description in the writing. Writing only gives a little bit of sense. Paintings can just have the details, writing must have a purpose. Writing fleshes out the characters --paintings: the smells and scene details. Both --the smells. DFW only mentioned the taste of food twice. In his entire writing career.
Often in books, the description of scene becomes boring --PRO for painting.
Translation in books to medium --vision of the director, limits of media.. am I the director, mediator between different media? Yes.
In my art, text and imagery are two parts of a whole. They're better together because they better fit various purposes.
Do they work as illustrations in a book?? Does that even matter?
In making fiction real, regarding use of scale, I'm asking more of the physical things. 1:1 scale for the paintings, how about a stuffed animal ostrich? Yes. Why is the guy on the street skateboarding with a dog and a pink backpack? And a girl taking professional portraits right by him? Strange town. Maybe life's strange? I need strange things in my work, because I'm serious and the world is weird. God the world's weird.
Focusing...
Writers and artists are collectors of ideas. Write about this!
There's a quietude, horizontals, polite framing/cutting off --seems resonate. The scale of painting feels quiet.
Alienation, spareness, importance of the scene or object changes. Full of spareness. Vibration of pontiancy (sp) --this is what I'm aiming for.
BE careful about the uncomfortable and overlooked space between Quiet and Boredom and Silence.
In a Hockney, they don't look real, but they don't look fake, they're taken to a different place.
Think about switching visual languages from object to object. Jumping prevents you from going to a believable space
Mental thought about the characters, is that the process? Takes the viewer into a diff way than if it were seamless. Where is this in the painting? in the objects?
Weird moments make it seem more like a mental space than what it really is
Watch Napoleon Dynamite for remembered 80s like my remembered spaces.
Little r's --taking in the research that I observe.
Anywho, notes to get organized before I begin this process:
Illustrations and my work? If illustrations are images that accompany writing, than my paintings are not illustrations. What I'm doing is distinct.
But I need to articulate in what ways illustration is different than my paintings.
For Illustrations, in this definition, the weight is on the text, and illustrations serve the text. But in my work, the weight is different --I could remove the text much more fittingly than I could the paintings. More time is expected for paintings than for an illustration.
But there is a relationship between a written narrative and a narrative in images. How can they both be complete and what is their relationship to each other?
There is a lot of image description in the writing. Writing only gives a little bit of sense. Paintings can just have the details, writing must have a purpose. Writing fleshes out the characters --paintings: the smells and scene details. Both --the smells. DFW only mentioned the taste of food twice. In his entire writing career.
Often in books, the description of scene becomes boring --PRO for painting.
Translation in books to medium --vision of the director, limits of media.. am I the director, mediator between different media? Yes.
In my art, text and imagery are two parts of a whole. They're better together because they better fit various purposes.
Do they work as illustrations in a book?? Does that even matter?
In making fiction real, regarding use of scale, I'm asking more of the physical things. 1:1 scale for the paintings, how about a stuffed animal ostrich? Yes. Why is the guy on the street skateboarding with a dog and a pink backpack? And a girl taking professional portraits right by him? Strange town. Maybe life's strange? I need strange things in my work, because I'm serious and the world is weird. God the world's weird.
Focusing...
Writers and artists are collectors of ideas. Write about this!
There's a quietude, horizontals, polite framing/cutting off --seems resonate. The scale of painting feels quiet.
Alienation, spareness, importance of the scene or object changes. Full of spareness. Vibration of pontiancy (sp) --this is what I'm aiming for.
BE careful about the uncomfortable and overlooked space between Quiet and Boredom and Silence.
In a Hockney, they don't look real, but they don't look fake, they're taken to a different place.
Think about switching visual languages from object to object. Jumping prevents you from going to a believable space
Mental thought about the characters, is that the process? Takes the viewer into a diff way than if it were seamless. Where is this in the painting? in the objects?
Weird moments make it seem more like a mental space than what it really is
Watch Napoleon Dynamite for remembered 80s like my remembered spaces.
Little r's --taking in the research that I observe.
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