I had to take a high resolution photo of a painting for a prospectus, and while I had the pro camera out I took some pictures of the work in progress just for fun. So the shot above is actually a small detail of a photo.. Ain’t technology wonderful?! I usually use a now rather antiquated Kodak EasyShare for most of the blog’s photography. It’s so ancient that you can’t buy the 2 GB chips very readily. Of course I used to think — actually I still think — that the detail available on the old camera is amazing.
Well, here’s hoping I don’t break the internet with all the bytes. The above is a section of the shot below (whose total file size has been reduced).
You can see the weave in the canvas.
You can be the
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It’s not quite the same thing as Emily Kame Kngwarreye’s painting, but I’m fiddling around with the idea of abstraction that is just lines and shapes (maybe later on just lines and dots) and that is still koi. A koi dreamings. Richard Diebenkorn meets Joan Mitchell and Emily Kame Kngwarreye and they meet Jennifer Bartlett. Everyone, of course, tips their hat to Georges Seurat — let’s not forget him. Come visit my store on CafePress!
[Top of the post: A Computerized Dreamtime (Altjeringa) by Aletha Kuschan]
Ever since discovering, by golly, that our computer had photo collage software on it (who knew?), I’ve played around with images by combining things on the computer and then altering them via the computer’s many interesting graphic features. This “fishwave” is one result. A photo of a heavy drapery is blended with some pictures of koi swimming and all that has been run through the washer on the permanent press cycle until it looked as you see it above. Sometimes I paint from images like this that I’ve created on computer. After they become paintings, they can be photographed and rerun through the same computerized process again to be transformed into something else. Metamorphosis.
Then, too, there’s the computer between the ears with which we can attempt daring things.
I have been making sketches for the second of the koi paintings, redoing the same motif over and over as a way of thinking about it. I am like an actress learning her lines. The lines I learn, however, are the ones I draw. I rehearse the gesture of making these lines, of thinking about the composition as a whole, of thinking alternately about the shapes of the fish and about the shapes of the water in which they swim.
One morning while working at the computer, I thought: what the heck, and I did this digital drawing using a paint program. The motif is copied from the oil painting, which is still just blocked in. So this computer “study” postdates the actual painting and develops simultaneously with it. I’ll post the canvas in a bit. Since beginning the lay in of the picture I’ve also made two drawings of different sizes.
It is much harder for me to control the lines on the computer, yet it’s interesting and challenging in ways that resembles playing a computer game. I find that doing a picture in a paint program has a “technique” just as do other media. I haven’t begun to master the use of the paint program with its switching between tools by grabbing them with the touch bars. I didn’t always have the tool icon that I thought I had and was “undoing” as much as I was doing — something that not even the use of an erasure quite matches.
In the traditional media of the artist, there is usually not much of undoing that one can do — just a going forward or a beginning again.