tag:blogger.com,1999:blog-7658518583188826551.post1092931711189644145..comments2024-03-28T06:33:54.252-04:00Comments on Studio and Garden: A New Painting: "Black Across Red", and some thoughts about feeling/mood in paintings.Altoon Sultanhttp://www.blogger.com/profile/16743040814034732581noreply@blogger.comBlogger7125tag:blogger.com,1999:blog-7658518583188826551.post-41259740360189830052013-03-10T18:11:42.411-04:002013-03-10T18:11:42.411-04:00Great! Thanks!Great! Thanks!Panda in Chiefhttps://www.blogger.com/profile/14160375490647791433noreply@blogger.comtag:blogger.com,1999:blog-7658518583188826551.post-84428953832670474192013-03-09T12:14:27.324-05:002013-03-09T12:14:27.324-05:00thank, miz for your support. I've been working...thank, miz for your support. I've been working in egg tempera for almost 20 years, even wrote a book on it, The Luminous Brush, for which there's a link at the right hand side of the blog page. I work directly on the parchment, using glair as a medium, which is beaten egg white. On the right hand side of the blog page you can also find links to posts on "Making a Vellum/Parchment Panel" and on "Preparing Glair". Altoon Sultanhttps://www.blogger.com/profile/16743040814034732581noreply@blogger.comtag:blogger.com,1999:blog-7658518583188826551.post-13142419304096974652013-03-09T11:08:27.362-05:002013-03-09T11:08:27.362-05:00Hi Altoon,
I've been a fan of your work for ma...Hi Altoon,<br />I've been a fan of your work for many years. I'm interested that you are working in egg tempera now. I notice that you are working on calfskin parchment. Do you then put a gesso ground (rabbit skin glue gesso) on that? Do you mount it on something to keep it stabile? I am currently working in egg tempera as well, after studying with Fred Wessel last year. Thanks for any info you feel like sharing.Panda in Chiefhttps://www.blogger.com/profile/14160375490647791433noreply@blogger.comtag:blogger.com,1999:blog-7658518583188826551.post-79338041435936803552013-03-07T18:46:07.395-05:002013-03-07T18:46:07.395-05:00Getting responses from my friends, like the one yo...Getting responses from my friends, like the one you just posted steven, makes my work on this blog very worthwhile. Altoon Sultanhttps://www.blogger.com/profile/16743040814034732581noreply@blogger.comtag:blogger.com,1999:blog-7658518583188826551.post-28828398226323147802013-03-07T18:41:44.263-05:002013-03-07T18:41:44.263-05:00And thanks again for creating and publishing this ...And thanks again for creating and publishing this blog. Most appreciated.steven aimonehttp://www.stevenaimone.comnoreply@blogger.comtag:blogger.com,1999:blog-7658518583188826551.post-13458799558816297412013-03-07T18:27:16.454-05:002013-03-07T18:27:16.454-05:00thanks so much, steven, for your lengthy and insig...thanks so much, steven, for your lengthy and insightful comment. I think I'm using the word feeling as you might spirit. I like that you mention a visceral response from the viewer; I agree that this comes into it a great deal, even for me with my own work.<br /><br />I greatly appreciate your take on the geometric/organic differences. Believe it or not, it's not actually something I thought about, but you are right. Your mention of vulnerability is what I meant by the poignant and the provisional, that sense of possible loss. Altoon Sultanhttps://www.blogger.com/profile/16743040814034732581noreply@blogger.comtag:blogger.com,1999:blog-7658518583188826551.post-40330131904169445842013-03-07T17:53:37.869-05:002013-03-07T17:53:37.869-05:00Great questions, Altoon.
For what it is worth...
...Great questions, Altoon.<br /><br />For what it is worth...<br /><br />It seems to me that formal qualities DO shift meaning precisely BY shifting the feeling/mood. Actually, the words "feeling" and "mood" fall a bit short, I think. For me, what we are talking about here is the energetic quality of a work.. its "spirit," so to speak.<br /><br />The more read-ably nonobjective these pieces become, the more these inherent energies take center stage. Visual elements become living things with character, personality, and spirit. They enter into relationships that elicit visceral responses in the viewer. The arrangements breathe, have rhythm, convey a sense of equilibrium, and so on.<br /><br />The subtle but remarkable differences that you note in your most recent works seem to me to arise from the proportional relationships between geometric and organic qualities. The machine part paintings, while quite powerful and often haunting, are virtually all geometric-- the players (shapes/forms) are perfect, idealized, knowable. The ribbon/folded cloth paintings, on the other hand, include an element or passage that hint at the opposite polarity. The ribbons offer a sense of the organism, an energy that is imperfect, a bit eccentric, just a bit more difficult to understand and explain. They are one of a kind. Each bends, folds, and wavers in its own distinct way. They offer a sense of individuality; perhaps even of vulnerability, fragility... steven aimonehttp://www.stevenaimone.comnoreply@blogger.com