Everything Illuminated

Towards the end of last semester I recognized that my methods of working ceramics and painting had been so divided. The way I though about ceramics has always been to have an idea established and then produce whereas my paintings are studies that I follow through on blindly and paint as I go. However, there were certain elements that could be crossed over and transitioned: line, layers and form to name a few. Taking that into account and still working with creating an environment for these forms to be viewed I continued working with porcelain paper clay and coils.

This is what happened.

What Matters

Visiting family that I have not seen in almost 10 years: my Grandmas and Grandpa-in the mountains- where I can breathe.

Guillermo and Carmen Ayala

Luz Maria de Roa Avendano: 1917- 2002

Location: El Paso, Texas

Painting Progression

Beginning Fall 2010:
     What I have been working on since late August- early September. And this is where I have left off on my exploration- I have a larger painting still in progress along with another one of these...I plan to work over break in experimenting with color further: this has been a grasping of concept, content and color for me...I am still working on it. But this is what I have.

1.

2.

3. with detail

4.

5. with details

6. with details

7.

Ceramic Synthesis

A personal struggle between the two studios; painting and ceramics is on-going, constant. And where painting is instantly gratifying, ceramic art is more process based and technical- at least for me. As i delve into more experimentation in one the other seems to struggle- there can be no balance. So I have decided to evolve my ceramic studio practice to that of my painting- where my focus is on:

-experimentation of line
-form
-translucency
-design

The question still remains as to how? So I have left this chandelier in a some what unfinished state and will return to it spring semester.

Containment of Atmospheric Light

Ceramics is another medium in which I am discovering characteristics of the clay body itself and exploiting its natural tendencies. I am working with high fire porcelain, reaching all the way to cone 10. I am exploring containment, direction and translation of light. The objects in the photographs contain both handbuild(coil) and slip cast components(cups). The faceted cups are made of a highly translucent slip body which allows the light to luminate the cups from within. I constructed the table or altar on which they sit- displayed in a dark room the atmosphere and mood of the setting change- you are transported into another environment just with the altar alone; an environment that feels sacred, soothing and tranquil as the flames dance in their contained space.

October for Discovery- 22

I have been doing various studies within my paintings. These are 2 of the more recent pieces in this series- discovering transparency and play. I work mainly with acrylic- the imediacy and the ability to achieve many layers by using washes of various colors is appealing to me.

These studies have included partial gessoing along with various layers made while in the under-painting stages. Dripping both vertically and horizontally to build up a grid, and understanding how the un-primed areas of canvas react and absorb with the succeeding layer. This is an ongoing cause and effect, that allows me to experiment and understand the medium more- and where I want to take it. The use of color is also a way to come to grasps with color theory and relation with its surrounding field painting. These are also a return to drawing which is important to me- a foundation built upon observation done in contour, which offers just enough simplification to emphasize the under-painting allowing the viewers eye to circulate throughout the piece.

And so it begins...

     The beginning of the end- SENIOR YEAR of college. I am only 3 weeks in and it feels like an eternity...so much stress and anxiety in the production of my work- struggling to find out what it is I will be doing for the rest of my life! Its so hard to know and choose between 2 studios that consume so much of myself and require my full attention to which I have been neglecting to give.

     However, yesterday was a point of re-discovery for myself- reviving the spark between me and my paintings. I had left behind the most important aspect of my painting...myself. I forgot the playfulness and experimentation that I use to come at my canvas with- and yesterday was just that. I painted for 5 straight hours- rotating from canvas to canvas, initially starting with 2 then progressing to 3 as my ideas came pouring out- it felt so good. I navigated my way throughout the pieces and got to know each one individually. They fueled me to work through each other, working on one and setting it aside to dry- moving continuously to the next. I hadn't done this in forever, and although it resulted in only one being completed- I have let burn this burning desire that I had to reconnect, and I am not done yet.