Today’s Inspiration: Huguette Caland

Beirut
133x86cm, mixed media on canvas, 2008

Born in Beirut, Lebanon, 1931, Huguette Caland is the only daughter of the first president of the Republic of Lebanon. She began painting at the age of 16 under the private tutelage of Fernando Manetti, an Italian artist who resided in Lebanon. She then studied art at the American University of Beirut, lived in Paris for 17 years, and spent some time working in New York.  Huguette eventually settled in Venice, California in 1987 where she currently lives and works. (From huguette caland, found by way of hakutou garden)

These two paintings speak to me. They also make me think of some of my favourite paintings by Paul Klee, who is another endless source of inspiration.

Inspiration of the Day: Dahlov Ipcar

Above: Dahlov IpcarFour Greyhounds, 20″ X 35″ Oil on Canvas, 2004

She might be new to me, but Dahlov Ipcar has been at it for a long time. As her wikipedia page states: “In 1939 at the age of 21, [Dahlov Ipcar] had her first solo exhibition at the Museum of Modern Art in New York City, called Creative Growth, the first of many solo shows over the next forty years.” I have my friend Claudia from LibraryThing to thank for introducing me to this artist’s work. Claudia, being a resident of Maine, as is Ipcar, says her work is ubiquitous in that state and has admired her paintings for a long time. Now 94, Ipcar is still as dedicated to her work as ever. As stated in a Bangor Daily News article: “It’s a rare morning if Dahlov Ipcar has not had a chance to paint. After all, that’s how Ipcar usually starts her days.” The article goes on to point out that many of the 30 children’s books she has written and illustrated during her career have been re-released in recent years. A retrospective of her work, called The Art of Dahlov Ipcar was also published in 2010 (click on the link to see previews). For those of us getting a bit (or a lot) of a late start in life as artists, it’s encouraging to know it’s never too late… Continue reading

365 Days of Creativity

Giraffe Drawings_3784

One of my friends, K, whom I had originally met in a painting class said something on Facebook just a short while ago about looking forward to starting a new art class as she hoped this would get her painting again, something she’s been finding hard to do lately. I understand the frustration of wanting to create things and feeling held back by lagging motivation. In my reply to her, the idea just popped into my mind that maybe I could start a group and/or blog where people would be encouraged to post a creation every day, in whatever medium they choose. Back in March, I blogged about wanting to find a project that would entail me showing my creations on a daily basis and gave myself a month to think about what I could possibly want to do every day for at least 365 days. I set myself a deadline to figure out what that thing would be: April 11th. This date is fast approaching and up until today I’ve been dreading it. Making that process interactive and having other people contribute their own creations too however… that seems a lot more exciting to me. I’m thinking that a group effort will encourage participants to keep going and stay motivated if only for the pleasure of sharing their creations with others.

I’ll think this over and share what format this group/blog will take on (making it user-friendly being a priority), when the start date will be, as well as how others can join me in this project, etc this Sunday April 11th. I’m hopeful that others will want to start this 365 day adventure with me or at least participate occasionally. If you’re interested, please don’t hesitate to leave a comment—I’d also be curious to know what you think you might like to contribute, though I encourage everyone to participate in whatever medium they are most comfortable with, be it photography, painting, drawing, knitting, doodling, poetry, design, recipes, short stories, music, sewing, videos, haikus, baking… basically ANYTHING that is your own creation and which you can show others via internet. Anyone from beginner,  or amateur to professional is encouraged to participate. We’re not looking for perfection; participation is the only goal and any kind of effort will be encouraged. Suggestions are welcome.

Whether there are other participants willing to start on Day One with me or not, I’ll set the whole thing in motion in hopes that others will want to join along the way, though I’d love it if at least a couple of people joined from the start. Are you in?

This photo by Smiler was originally  featured in this post.

mes de los muertos

mes de los muertos_3351

mes de los muertos_3340

Two of a series of four small paintings from today’s Painting as Expression class. Of course the originals look very different and even with my best efforts I couldn’t get the colours quite right here on the screen. Our teacher Vicki had asked us all to bring materials which we could share to inspire each other; images, books, poems or various readings which were in keeping with the prevailing themes of the month; autumn, change of seasons, the dimming of the light, death and dying, Halloween, etc. None of us remembered to bring anything, although I had intended to bring along my book of Charles Baudelaire selected poems to read a piece such as The Enemy*:

My youth was filled with storms; dark thunderheads
Lit up by sudden sunshine. Wind and rain
Tore at my garden, left the ravaged beds
Stripped bare of soil. How few ripe fruits remain!

Now it is autumn; my ideas turn brown.
Look at the land; I’ll need spade, rake and broom
To clear that flooded mess. The sodden ground
Is full of holes, each bigger than a tomb.

I dream new flowers now: but who can tell
If they’ll take root in this exhausted soil?
The nourishment they need is strange and rare.

Time eats at life: no wonder we despair.
Our enemy feeds on the blood we lose.
He gnaws our heart, and look how strong he grows.

Yes, this poem would have been completely à propos today. As none of us was able to contribute anything, Vicki showed us paintings she’d selected from art books she brought along and then had us do an exercise called Wild Mind Writing (better known to most as stream of consciousness writing) to provide us with a starting point for our painting session. She gave us the first few words then gave us five minutes to write whatever came spontaneously to mind: When the light enters darkness… Here, an excerpt from what I wrote:

When the light enters darkness
awakenings of colours emerge
with shapes aglow inching closer,
wider, always glowing until the sounds
overpower our sense of vision.

Red, orange, more red.
Red on bicycles, orange bouncing
up and down, blue mean streaks
across red fields.

The light enters the darkness
to awaken all the senses,
to reshape the world; awash in colour.

~

* Here, Baudelaire’s original version:

L’Ennemi
Ma jeunesse ne fut qu’un ténébreux orage,
Traversé çà et là par de brillants soleils;
Le tonnerre et la pluie ont fait un tel ravage,
Qu’il reste en mon jardin bien peu de fruits vermeils.
Voilà que j’ai touché l’automne des idées,
Et qu’il faut employer la pelle et les râteaux
Pour rassembler à neuf les terres inondées,
Où l’eau creuse des trous grands comme des tombeaux.
Et qui sait si les fleurs nouvelles que je rêve
Trouveront dans ce sol lavé comme une grève
Le mystique aliment qui ferait leur vigueur?
— Ô douleur! ô douleur! Le Temps mange la vie,
Et l’obscur Ennemi qui nous ronge le coeur
Du sang que nous perdons croît et se fortifie!

~ Charles Baudelaire

Painting Noises

Vicky Tansey, a fascinating woman probably in her sixties and in much better shape than I am, is considered to be one of Canada’s leading pioneers in the art of improvisation as a dancer, singer and visual artist, and is also an accredited Tai Chi teacher and Buddhist practitioner, according to her bio on the Visual Arts Centre site. I discovered her great enthusiasm and intensely physical approach to painting and drawing today during the first in a series of eight classes titled Painting as Expression, which is geared toward “beginners, and those who want to begin again.”

To start, she had us twelve students—all women, save one brave man—sit in a circle to introduce ourselves and describe what had led us to choose this particular course out of the VAC’s vast curriculum. Next thing we knew, we were making marks on paper with our eyes closed while engaged in a series of contortions; moving our bodies around our limply held “broken” wrists; drawing, arm extended, from as far from our easels as possible while standing on tippy-toes; with charcoal sticks held on our chest—like knives in a stabbing motion—following movements she performed for us with complete abandon, then switching hands and doing it all over again. Vicky was clearly right in her element. The rest of us were predictably inhibited and feeling foolish at first, but these exercises got her point across: if you want to be expressive in your art, it’s got to come from your whole being and not just from an ideal in your head and a carefully held paintbrush positioned at a perfect angle. As it happens, just the type of exercise I had signed up for.

First painting exercise: cut out four pieces of “found” cardboard, cover with gesso, then make marks with charcoal on each “canvas”—again with eyes closed and using the techniques we’d just explored—all based on vocal noises she made—much to our great amusement. Then, using only gesso and a paintbrush, she left us to our own devices to paint over the drawing in order to create new images from the initial markings. Making pretty and colourful images was discouraged—the point was to explore gesture and learn to follow our instincts. Each student managed to end up with very personal interpretations and image styles, almost surprising given the limited resources we were allowed. Just in case you’re curious, here’s what I came up with:

Cartoon Face
“Cartoon Faces”

Clouds
“Clouds”

Yellow Submarine
“Yellow Submarine”

The Bull
“The Bull”

The names just describe the images that came to mind as I was working on them.

On Artists

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With the most primitive means the artist creates something which the most ingenious
and efficient technology will never be able to create. ~Kasimir Malevich

Epitaphios (The Shroud of Christ)
1908 Gouache on carton
Tretiakov Gallery, Moscow

 

On Forms

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“True art takes note not merely of form but also of what lies behind.”
~ Mahatma Gandhi

“The circle is the synthesis of the greatest oppositions. It combines the concentric and the eccentric in a single form and in equilibrium. Of the three primary forms, it points most clearly to the fourth dimension.”
~ Vasily Kandinsky

Several Circles (Einige Kreise),
Vasily Kandinsky 1926. Oil on canvas.
Guggenheim Museum.