Gesture and the stroke/mark
For centuries the artist has considered and explored the
paint stroke as a means of expression, an aspect of his/her language.
Cezanne worked in small almost triangular strokes.
Frank Auerbach pushed his paint in thick swirls of
pigment and modeled his subjects in fervent plasticity.
Pollack threw away the brush and flung and
dripped/spattered his paint to achieve a transcendent, symphonic picture space.
Think about your means of making a stroke and explore new
methods and tools
The brush is a given that the artist does not have to
accept.
My Tuesday figure class will have 2 models next week, a
male and female: Kim and Ginger. I hope this situation will inspire some
off-beat approaches to the model(s) in the classical studio space.
See you next week, john.
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