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Originally Posted by roachboy
kramus--the craft behind these is imposing...thanks for putting them up. there is alot of information to process, so after my first go-through, i kinda prefer center and the "cindy" piece
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Thanks for the detailed response roachboy.
The 2 pieces you mention are variations on narrative pieces. I enjoy that sort of work very much, and am thinking they represent the archetypal place for the art that grows both within oneself and on the paper. The drawback to too much growing on the paper is the lack of production while lingering over textures and details that may never be noticed.
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aside:
i have a difficult time putting things out into the world.
i tell myself i'm going to do it, and often i start, but then things get blurry--not physically, but more as a project.
i dont know why this is exactly: i can't quite figure it out.
i feel like i'm doing stuff now that need to have their own lives, so am thinking about this all over again.
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Ditto, with bells on
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the thing:
i wouldn't necessarily choose between styles--i would just alternate between them. make a rotation-like. if you want to go in direction x or y, feature it more for a while and then let it slide back into a routine. it seems to me that maintaining routines--practice--is the central thing. if what you're doing refers mostly to how you get to the place of doing it, then it hardly matters what other folk think of it---not that it isn't nice to hear folk like stuff and a drag to hear they don't---but the motor is your own work, what you do.
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It looks that way – the reason the question has been raised is the outside world seems to want some sort of consistant package or presentation. Maybe the answer is to merely produce everything, and if there is enough quantity to make a showing of one “style”, then do so.
What you say about comments from outside of the brainbox rings true. I see what I see, and that differs in ways immeasurable from what a random person notes when they walk up to a drawing on a wall.
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the other thing
alot of the images look like they'd be happy living in books as much as living on walls--do you do anything in that format?
personally, i think you might consider a broader approach to getting stuff out into the world, in more places, via more routes.
grand conclusion drawn from anecdotal evidence
galleries--->strange business.
they seem mostly about which parties you get invited to.
it's most odd, that world.
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You see that also, then. Amonkie said the same thing, I think – the work may do better when you hold it in a book. (/me loves books, illustrations, and all things that can fit cozily in your lap).
You have found alternative venues for your different work, I think. I wonder how to do the same. That is something perhaps that can be answered by some serious networking. Thanks, rb – a very appreciated post.
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Originally Posted by little_tippler
Hey kramus, I really owe you one here because a while back you asked me for some advice and at the time I was unable offer it.
I like your nude sketches but I don't think they have much of the soul of your work that is present in other pieces. Out of all of them though, this is the one I think is the best:
http://i119.photobucket.com/albums/o...atedFigure.jpg |
Hi little_tippler
That drawing was probably what I feel was my most successful sketch in a long, long time. /me loves your eye.
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I love punkinhead, or at least the style of the drawing, and there isn't another quite like it. Of course, this is not the most commercial work, it would be perfect as an illustration though. I do feel that a lot of your work is more suited to illustration:
http://i119.photobucket.com/albums/o...nheadsmall.jpg
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Illustration – that is a common thread in comments and advice I receive. There are lists of publishers I am part way through preparing presentations for (some snail mail others email depending on their stated preferences). I think I can approach them with more confidence, considering the input you and others have given me.
You wouldn’t know the place these two piece came from, but they are related in that they each are a “snapshot” of sorts of an inner landscape that is always there, and that I occasionally tap into and put on paper. I find that very, very interesting.
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I also think conceptually your Sessile series has some strength:
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Big smile here. I like to think that there are real possibilities with Sessile. Long term projects.
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My favourite pieces are the following ones. They have the most movement, dynamic and freshness:
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These pieces have some of that inner-landscape vibe as well – except that Stay Right is heavily filtered through the biker-world motif I considered exploiting a few years ago.
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Of course I'm partial to the more abstract work because I work on a daily basis with contemporary art. I feel strongly though that there is a place in contemporary art, or there should be, for key elements of figuration. They give works a greater strength, because it helps the viewer to "enter" the work, but also then to journey through it into other possibilities.
I think you are a very skilled artist, and you have some beautiful works here, but the works here suggest you are still finding a path for yourself. Recurring are elements of nature such as trees, and also dragons, and I think these may be your key structures. I think you have a concept for your work but it's still not clearly transmitted to your audience. I'd love for you to tell me more about where you are going with your work. I also think that in your work you need to accent composition more - looking at the works, each one is quite uniform, elements don't stand out from each other strongly enough, for me anyway. I like the coloured pieces but I think it's just icing, and that's not what you need to develop. I also like the delicate quality of your work, there is a softness that is very attractive.
Keep up the good work - I know how hard it is to take criticism from others, but you must always believe in your work and keep doing it, for as long as it brings you happiness.
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Lots to think about, little_tippler. Truth and insight (and complimentary words -have no worries about critiquing when it's asked for. The figurative element is a key element that underlies a lot of the work I do. Your advice about composition and creating more strength and dynamic direction is well noted.
Thanks for the detailed comments. You came through beautifully
Hi Shauk - I like the "different conduits" phrase. I won't be labelling myself a "Moby" though (kidding - I know what you are saying and it is an interesting consideration)
Thanks yellowgowild - the fortune wouldn't happen until the process got sped up a fair bit. That piece took a lot of days, sitting in the yard when it was nice and trying not to stick to the paper when it wasn't - I lived in that attic in the drawing and it gets pretty damned hot, I can tell you.