Creating Art Archives - Page 7 of 18 - Donald S. Kolberg Visual Artist and Sculptor

Harn Museum Review

If you have a chance to stop by the Harn Museum of Art on the campus of the University of Florida, Gainesville DO SO!
We were there this past week and while it was in between major shows, the displayed work from their permanent collection did not disappoint. Being a sculptor and painter I was excited that the first piece I saw was a Frank Stella work, Zandvoort, 1981. This mixed media wall hanging on etched magnesium was alive with color and shape.
One thing I’ve wanted to see as a sculptor was work by David Smith, I wasn’t disappointed. The museum had 2 on display, Hi Candida and Zig I

Paintings were not in short supply either. There was Florida Lake by Milton Avery, Jim Tadell’s Place by George Bellows, Pulling Turpentine by Ellis Wilson and the flute player and the Watermelon Eater by Picasso

The Harn Museum has works in eleven galleries all on one floor. Their collection consists of more than 9,000 works and they rotate the pieces regularly. This is just a short review to introduce you to a wonderful museum, Oh and did I mention its FREE

New Paintings

I have been exploring the personality of paint by layering acrylic paint, papers and a variety of other textural surfaces. I have combined this with surrealistic conceptual works that delve into astrology and symbolism. Feel free to let me know what you think. Taurus (24 x 36) is about my sign and how I feel about it, Once the Bird is Released (16 x 20) refers to the symbol of a bird released in a painting referring to a woman releasing her innocence and She Has Always Danced With Fire (18 x 24) while an erotic work is also related to Native American culture.

Location, Location, Location…NOT!

Any time you put more than 1 artist in a room the question of location rears its ugly head. This seems especially true when you see art similar to your own or work that just seems so ‘familiar’. And by this I mean it looks like the same thing redone, recycled or re-whatevered.
Brian Sherwin addresses this misnomer of believing you need to be in the center of the art universe to succeed, in a recent blog. The excerpt below should be enough to make you want to read the rest. His blog site is also a great one for interviews and art commentary, http://briansherwin-artcritic.blogspot.com/

The Location Trap

by Brian Sherwin

In closing, we need to kick the myth surrounding artists and location to the curb. This much I know: artists AND art collectors can be found throughout the United States. I’ve met my fair share of both during my travels in rural communities throughout Illinois, Missouri and other states. Not to mention we are all connected online. Focus on where you are… keep your feet planted in your art studio as much as you can — everything else will come in time. […]

Read the rest of this article at:
http://faso.com/fineartviews/87572/the-location-trap

———————————————-
This excerpt appears courtesy of FineArtViews Art Marketing Newsletter by FASO,
a free email newsletter about art, marketing, inspiration and fine living for artists,
collectors and galleries (and anyone else who loves art).

For a complimentary subscription, visit: http://www.faso.com/art-marketing-newsletter

———————————————–

Mono-Transfer Strappo

I have been providing lessons on how to create a Strappo and realized that I have modified the technique in a natural progression that I thought I would explain here.

Briefly, Strappo’s are a monotype from a dry acrylic transfer. An acrylic painting is developed and painted in reverse on a clear glass plate. When the image is fully formed and dry, to thicken the acrylic skin, successive layers of acrylic gesso are added. For the transfer process, fresh coats of acrylic gesso are applied both to the back of the glass plate and on the sheet where the image will be placed. The plate is placed on the prepared surface while the fresh gesso surfaces are still wet. Weights are placed to insure contact while the gesso layers bond. After the acrylic layers are bonded, the image and attached surface will be peeled from the glass. It is exactly the image as painted. The image, a monotype, is now transferred and the glass plate is clean. The surface of the image is smooth because it was developed on the smooth surface of the glass. A great advantage is that it does not require the use of a press.

The modifications are created when I add collage and drawing elements to the mix. By first coating the glass surface with a polymer (and letting it dry thoroughly) I am able to create a surface that I can draw on. I use permanent markers to sketch out gestural images and objects and I have also experimented with crayons and lithography pencils. I then coat the surface with polymer and again let it dry.

When I want to add collage elements the layering process starts again. For the Floral pieces I create, I use acrylic paint chips from dried pigment on my palette. This is great for the leaves and blossoms of plants. They are set in place using polymer and then coated with the same medium. Wallpapers in rooms are often designed with pre-painted newspaper or magazine clippings. These collage elements are treated and adhered in the same way as the floral works, alternating layers of polymer with the pieces of ephemera.
Red-Flowers1

The only other adaptation is that after all is said and done instead of adhering the glass to a surface for weights and drying, I peel the image from the glass and then apply it to a new surface. This can be paper, material and even an existing painting. While these are still Strappo’s, I have also begun to refer to them as Mono-Transfers.
You can see additional examples of Strappo’s and my other artwork at donaldkolberg.com. And feel free to email me with any questions.

Lines in Art, Exploring Mark Making

I am ending the year with the beginning of an exploration into line and its relationship to mark making. Here are a few of the basics that underlie what I know about traditional concepts of line. I know it’s simplified but I needed to start somewhere.

The diagonal line displays a strength and intensity and suggests elements like depth and movement. On a picture plane these dynamic features attract the viewer’s eye.
To create a static or immobile sense of structure you would turn to horizontal or vertical lines.
When you use these types of line in concert, creating a linear composition, you find using small amounts of diagonals will offset any large application of horizontals and verticals.

There is also the creation of curved and straight lines to take into consideration. If you are looking for a dynamic feel that supports a sense of depth you will turn to the naturalistic curve with its inherent emotional characteristic. If you are looking for something with less contrast that stands strong yet passive look for straight lines. They can provide what you need to create a structure that holds a picture plane in place.

(noun) – A line is a basic element of art, referring to a continuous mark, made on a surface, by a moving point.

A line is long relative to its width. It can define a space, create an outline or pattern, imply movement or texture and allude to mass or volume. It is absolutely essential in creating art, the line.

So now that we have all this we’ll look at what I’ve started to examine. I did not move a point to create a line. I created a space that represented a moving point. I did this by creating a 3 dimensional line placed on the surface. I then painted over it with what was essentially a 2 dimensional line and then removed or deconstructed the original line. These new lines, shapes and space now exist in relation to a negative space that was created behind the lines.

lines.8 lines.7 lines.6

lines.2 lines.3