This is my sewing corner. I just sewed the bottom of the lining for Cheryls tote. 

This is the project I am presently working on. I copied a photo on fabric, the scene from my patio at sunset...The castle view I drew on a canvas like beige material and am presently satin stitching, quite small stitches, around the top of the buildings. I dyed a thin strip of fabric fraying lime green, for grass across the bottom. Also I cut off my slacks legs for the correct color for the top and bottom. Yup..I do stuff like that..art more important then clothes...Ha,,also I picked up some silver brads and machine to set them with, from the rummage room, to add somehow, and also found three silver midieval like buttons. Now this is fun. THEME: Once upon a time. 

Here is my drawing table corner. Work is in progress... 

Chers Tote finally completed and happily received. I now am ready to work on a more creative tote. The toile makes a good bag but I am anxious to return to my "what will I do with this" experiments. Back to the drawing table.  

Power realism that inspired me to work on realism too, so I headed for the onion bag. I will t ry showing my results too if I can make the blogger Heool bwehave and do my bidding. 

both realism and non-objective

A letter to a realist:


I have been thinking about how my views and your more realistic rendering mind could coexist in one work. The reason I wished this is because there is so much freedom and different joy from being totally released from defining everything through your critical, realistic mind . That route leads you to always feeling critical and negative about your efforts., (like when a teacher asks her class for everyone to draw a tree and everyone checks with their neighbors drawing to see if he is drawing it correctly) Only when you have no guidelines or nothing to refer to can you produce something that is your personal interpretation and still enjoy all the other factors of art that makes it so pleasurable. (color, tonals, techniques, line direction effects and emotional renderings are all thrills for the artist, contained in one art work).


Which wall would attract your attention more: A wall full of drawings of the same tree done by a group of students doing totally realistic rendered or another wall with paintings done by primitive desert tribes that have never seen a tree.
That said I do appreciate totally realistic renderings. It takes a lot of attention to details and hand skills to capture reality as you see it.


What I wanted to tell you is that I got an idea for a way you could feel the joy of total release that nonobjective painting gives you and still include your desire for realism. Are you ready for this?
I know, I do get carried away and if you are not interested in this subject at the present time I sure have been doing a lot of words for nothing but I know you know there is a joy also from sorting out all your thoughts into a story or poem. We meet our inner self in the process and I guess part of my inner self is an art enthusiast.


So HERE IS MY IDEA.:
In my mind, what takes a realistic rendering into an emotional art work is an interesting treatment of the negative space surrounding the object. Bohods onions (will try to put this picture in) motivated me to work with one real onion and once I got it realistic imprinted on my brain I started playing around with it on different backgrounds. I did this also with a shell. (pictures later)Thinking about this I realized that this idea could work for you. If you have been working on interpreting some object or scene why not first do a moving watercolor background (covering the total paper first) instead of a white paper?
like flowing water colors, using three adjacent colors on the color wheel, intermingling and also holding their own is certain places) and after it dries you put your realistic rendering on top of this. You would have used both techniques and in the process you will have experience both ways of expression.
NOW I THINK THAT IS A GOOD IDEA if I do say so myself!.. Will you try that?
Here is a picture of a southwestern artist who concentrates on the local Indians and produces some magnificent portraits and color works that take my breath away: Just look at his emotional background. Of course that is in oil and a much softer background would be produced from water colors.

Non Objective joins realism