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honoriartist


honoria in ciberspazio

gallery + reflections


Lemon Days of Summer
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honoriartist

Observational Drawing class in front of installation of their lemon drawings


Student Comments

Using light logic by creating highlights in my drawing. Used textured paper to better capture realism...Also using vertical location to show distance between object.  - Diejon B

I feel like I'm growing better with using pastels.  I am becoming more confident in blending, therefore overlapping some of the reflections over the shadows.  I am shocked at how amazied I am at the fact that you can use the eraser to block in the shapes.  I'm going to continue to use pastels.  - Chance C.

In my first drawing, you can see where I understood the concept, however the values weren't as dominant as I would have liked.  Moving forward with the second drawing, I was able to blend my colors more.  I also feel I was pretty accurate with the size relationships and being able to tell one lemon was in front of the other. - Kristianna G


How to write a Tragic Opera
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honoriartist
1. Review other tragic operas

http://www.cmuse.org/the-most-tragic-love-stories-in-the-opera/

2. Collage: Combine some really tragic and dynamic parts into a prototype.

3. Synthesize: Add your own story's character and unique language.

4. Create:  With the foundation of history and unique language move your charaters through their unique poetry in tune with the zeigeist of your opera.

Onward through the sorrow!

Words employers want to see on your resume
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Keep These Words Off Your Resume

Are you a “dynamic” “team player” and “people person” who thinks “outside the box”? Here are resume words to use instead.


Your resume is one of the most powerful tools in your job search, but it might be full of words that drain it of its strength. “[Buzzwords] once had meaning, but they have been repeated so often that hiring managers gloss over them,” says Mitchell Langbert, associate professor of business management at Brooklyn College.

To help you make sure you’re not filling your prime resume real estate with meaningless jargon, we’re breaking down which resume words to avoid, and which terms to add. Now read on you problem-solving, goal-setting, self-motivating go-getter. (Yep, these words are all on the good-to-go list.)

Bottom-lineWhile these words and phrases were actually once effective and meaningful, they are now “dying from overuse,” says Langbert.

Customer-focused
Dependable
Detail-oriented
Dynamic
Energetic
Enthusiastic
Excellent communicator
Familiar with
Go-getter
Go-to person
Hard worker
Hardworking
Highly organized
Loyal
Optimize
Outside the box
People person
Proactive
Results-driven
Results-oriented
Seasoned
Strategic thinker
Synergy
Team player
Thought leadership
Track record
Value add
Well-versed

Want even more help on your resume? Get started with a FREE resume evaluation from Mediabistro’s Career Services. Our counselors and writers can help you update and upgrade your resume so you can confidently apply for the job you want.

Use These

Replace buzzwords with “action verbs that describe what you’ve done and how those experiences have contributed to your success or the success of the company,” saysEleesha Martin, senior recruiting specialist at G&A Partners.

Achieved
Conceptualized
Created
Decreased
Improved
Increased
Influenced
Launched
Listened
Managed
Mentored
Negotiated
Organized
Problem-solved
Resolved
Showed confidence
Trained
Volunteered
Won

Other Words Employers Love:

Goal-setting
Ideas
Revenue
Self-motivating
Under budget

https://www.mediabistro.com/get-hired/resumes-cover-letters/keep-these-words-off-your-resume/?utm_content=cta&utm_source=weeklycareertips&utm_medium=email&utm_campaign=weeklynewsletter20160516

21st Century Skills and the Arts
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honoriartist
Education Week
Published Online:
Published in Print: February 2, 2011, as Not for Art's Sake Only

COMMENTARY

The Skills Connection Between the Arts and 21st-Century Learning

Arts Education and 21st-Century Skills

Published Online: February 1, 2011
Published in Print: February 2, 2011, as Not for Art's Sake Only
COMMENTARY
The Skills Connection Between the Arts and 21st-Century Learning
Arts Education and 21st-Century Skills
By Bruce D. Taylor
Few of us could disagree that today’s students must be taught the necessary skills to function in an increasingly complex,
conceptual, and globalized 21st-century society and economy. Students have to acquire so-called “habits of mind” that
will enable them to develop the skills of creativity, critical thinking, and problem-solving.
In addition, they must be able to communicate effectively, collaborate with people different from themselves, exercise initiative, and be self-directed.
That is a pretty tall order.

The primary purpose of education is to enable students to make a living as adults; without this capability,
everything else falls away. Yet we still teach within a basic framework established in the 19th century.
In today’s education environment, we seem to be slipping back from the future into the 19th century’s
contextual emphasis on reading, writing, and math. The consequences could be dire, even propelling us
back to a two-tiered education system: just reading, writing, and math for the disadvantaged in underresourced schools,
alongside a richer 21st-century curriculum for the country’s productive employees and future decisionmakers.
What can we do?
Consider the list of skills cited in the first paragraph. Aren’t these 21st-century skills, in reality, arts skills?
Now, stay with me here: First, we need to recognize that the very same valuable skills routinely employed
by artists and arts educators can be integrated curriculum-wide in ways that are not arts-dependent.
If this seems a revolutionary notion, it is because for more than 30 years, the well-meaning mandarins
of arts education have promoted practitioner development above all else.
We must ask ourselves, are we preparing students to function as human beings, or just as flesh-and-blood
versions of a hard drive?
What happened over that same span of time? Not only were the arts severely diminished in public education,
but the young people we supposedly reached 10, 15, even 20 years ago became parents of kids in schools
where the arts were cut. Bear in mind that these cuts were not the work of educators, but of school boards
ostensibly representing the parental community. The irony is rich, since the very skills their children will need
to be capable adults can result from arts practice.
At this point, I believe that the prevailing public perception is that arts education is only for young people
who want to be artists—“Glee” wannabes. If we applied this mindset to science, we would teach science
only to students who aspired to be chemists, biologists, or astronomers.
But the basis of this public perception is legitimate, rooted in the reality of arts education today.
The fact is, we too often teach students to perform without their actually learning anything.
Most of the time, students are simply remembering lines, notes, steps, terminology, and so on.
To be fair, the cumulative amount of instructional time an elementary music teacher has in the school
year is approximately 32 hours. This is less than the equivalent of a standard workweek to produce two
concerts with 200 or more kids. Given this time constraint, perhaps all that can be accomplished is
replication—not learning, much less understanding.
I believe that we can repair the damage done, and change public perception, by rethinking and reshaping
our approach to arts education. I propose that the critical skills of creativity, critical thinking, and
problem-solving can be developed by design—not acquired by accident or as a byproduct—
using the arts as tools. For example, teaching artists, along with arts specialists in schools,
can be rich resources for the integration of 21st-century teaching and learning into the
19th-century paradigm to which we seem to be wedded. After all, to be “creative” is to be,
by definition, artistic.
Why am I convinced that this would work? Because the arts relate to the unique ways in which
human beings think.
Marc Hauser at Harvard University postulates that there are four “key characteristics of the human mind”
that are contained in the 1 percent of our DNA that distinguishes us from our nearest primate relative, the chimp.
• Generative Computation The ability to create a limitless variety of “expressions” from a generative
catalyst of modest content. Think Beethoven’s four-note theme, which he spun into the Fifth Symphony.
• Promiscuous Combination of Ideas Mingling of different domains of knowledge, thereby creating new products,
relationships, techniques, and technologies. Think of a recipe that combines the chemistry of ingredients with
knowledge of temperature and time, along with taste, feel, and smell.
• Mental Symbols Encoding sensory experiences, both real and imagined, into complex systems of communication.
Think metaphor or analogy.
• Abstract Thought The ability to imagine what isn’t yet.
To focus on these is to enhance the very qualities that make us ... us. In other words, to be artistic is to be human.
The arts are woven throughout the fabric of our lives and the tapestry of our society. We engage with the arts every day,
all day. Artistic products envelop our daily lives, particularly those of children. They are what we listen to, watch and read,
wear, put up on our walls—they are everywhere. Artists have employed for millennia the inherently human abilities that
Hauser describes, transcending cultural and historical boundaries; now, these qualities have become crucial capabilities
for success in the 21st century.So we must ask ourselves, are we preparing students to function as human beings,
or just as flesh-and-blood versions of a hard drive?
The key connector of all these artistic artifacts in our lives is emotion—these things matter to us.
They touch us, resonate with us. Now, what is the one adjective all dropouts use to describe school?
Boring! To be bored is to be emotionally disengaged. Do our children go to school only to prep for tests
that are limited in scope and focus to the three R’s of retention, recall, and replication? Is there a difference between
“to know” and “to think?”
Of course there is a difference, and surely the mission of education is to have students think as much as it is for
them to “know.” But how do you “test” thinking? And shouldn’t teachers be asked, “What do you think?”
The key disconnect with so-called teacher reform is that teachers are not urged—not permitted—to think.
The demand is that teachers limit themselves to following prescriptions generated by people far removed
from the classroom and the school, sometimes hundreds of miles away, both literally and figuratively.
We must allow and encourage teachers to be creative (i.e., artistic) in devising ways to reach children in
a variety of circumstances, cultural frameworks, and emotional conditions, to have the flexibility to shift gears,
to create (there’s that word again) alternative methods, and to inspire in their students an emotional commitment
to attaining mastery.
All of these are hallmarks of the artistic process, and they can—and should—be employed in nonartistic contexts as well.
Bruce D. Taylor is the director of education for the Washington National Opera, in Washington, D.C.
Vol. 30, Issue 19, Pages 22,26

Bruce D. Taylor is the director of education for the Washington National Opera, in Washington, D.C.

Vol. 30, Issue 19, Pages 22,26


Taylor, Bruce D. "The Skills Connection Between the Arts and 21st-Century Learning." Education Week. Education Week, 1 Feb. 2011. Web. 20 Apr. 2016.

Mid-Term presentation as Professional Development
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honoriartist
Professional Development Mid-Term Presentation: “Tell me about your work.”

Objective: As a professional in your creative career you will be called upon time and time again to talk about your work.  Your midterm project is to show 3 examples of your best drawing and talk about your work to a fellow student who is role-playing an employer.

You will work in pairs to show your work to a fellow student as if that student is a potential employer looking at your portfolio. 

Your partner will ask, “Tell me about your work.”  You will answer in a well-crafted 1-paragraph reply explaining your personal interests and the strengths of your work.  You will turn in a printed version of your 1-paragraph response.

These starter ideas are from a book that I recommend. Art-Write by V.K. Amorose.

1. Begin by introducing yourself with your full name and and your program of study.

2. To create your reply, brainstorm your ideas by using these starters. Fill in the blanks to think more deeply about your unique approach to what you are presenting to a potential employer.

I find inspiration ___________

_________________ is at the center of my art.

My work is a combination of ______________ and ______________.

I make connections between ____________ and _____________.

I was thinking about ___________ and I created _____________.

I value __________

My process ________

I am intrigued by __________

My observation of ______

My vision _________

Reflect the way of ___________

Brings focus to _____________

The question I ask myself _______________

Do not use all these starters, just the ones that fit with your personal approach to drawing.

3. Here are some terms that may help you compose a professionally-sounding dynamic short discussion of your work.
Read more...Collapse )


4. Write a rough draft and practice reading it to your partner. 
5. Use your partner’s feedback to craft a smooth-sounding, professional paragraph to use in your mid-term presentation.

Teacher Reflections:

This is the format of the presentation:


  • Student/artist puts work on display, in our case with magnets on the whiteboard.


  • Student interviewer pretends to by a representative of a company that the artist student wants to work for.  The interviewer greets the artist/student and introduces herself.  They shake hands.  The interviewer asks the student, “Please tell me about your work.”


  • The artist student tells the prospective employer about the drawings.

I have never seen such a change in student communication skills and seriousness of approach.  this improv idea from SXSW edu engages the students in pretending, acting, and role playing.  The quality of the presentations went up across the board.  Students were more comfortable in front of the audience.  The content of the presentation was more natural and more focused using this technique.

This assignment promotes the 21st century skills of communication and collaboration.

SXSWedu 2016 Reflections
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SXSWedu 2016
 *
CPE Continuing Professional Education Attendance 4 1-hour workshops I attended offered CPE credits.
 *
Reflections
 *
Overall SXSW edu was full of dedicated education professionals from all over the states and some international participants. Universally the participants were seriously engaged in improving education from the student perspectives.
 *
IMPROV
I attended 2 sessions on improv techniques. The first session was facilitated by a group who used theatre prompts and improv to address sexual health with teens.  The workshop built trust and communication. The second session was more about group dynamics and icebreaker ideas.  Both sessions were fun and lively.  Both had useful concepts for the classroom.  For example, I can use improv techniques for students to be more aware of the model’s pose and position in space.  I can use the techniques of improv to increase the concept of empathy for a character that the student is developing through drawings.  I can use improv techniques to increase the honesty of critiques.
 *
GAMES
I attended several gasification sessions.  Most of the sessions were focused on video games in the classroom and how the games intensified student engagement, especially for geeky quiet kids.  The most useful session on games was Jane McGonigal’s keynote called, “Think and Learn like a Futurist” that had the audience of about 500 interacting and playing an online game based on hashtags and cell phones.  This session was useful for techniques to connect students to their own futures. One technique is to do close observation of the present for things that seem out of place and then analyzing them to determine if they are early clues to changes that are already starting and that will grow into meaningful future aspects of our lives.
 *
PERSONALIZATION & TYPES OF INTELLIGENCES
Personalization was another theme of the conference.  Giving students more authority over their learning is a trend that manifests itself by introducing student themes such as hiphop into the classroom.  The hip hop panel offered student-driven ideas on incorporation freestyle and graffiti into curriculum contexts.  In addition student advisory boards are a trend across schools to ensure learner-focused approaches to learning.  Temple Grandin in her keynote noted that certain types of learners should not be barred from higher levels because of the prerequisites of a course that are not relevant. For example, algebra as a pattern thinker’s area of strength, should not be a prerequisite for biology which is a visual thinker’s area of strength.
 *
CONNECTIONS
Fashion Technologist from Kent State who might have some interesting connections for my fashion drawing classes.
Adobe Tacy who said she’d connect to simple curriculum for color theory.
 *
Anne Kraybill from Crystal Bridges Museum of American Art who has online educational units we can use.
 *
Michael Ellsworth Designer at builtbycivilization.com who facilitates brilliant brainstorming activities!

 

SXSW Interactive 2016
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Reflections on SXSW Interactive 2016
Started out with an Art Installation of projection.
Anima is an experience. A large, floating orb beckons its visitors closer with an array of color-changing ripples that make its smooth surface appear textured, even up close. As a person approaches, the waves become more animated, drawing on the visitor’s energy or running from it. A loud, persistent hum encourages thoughtful silence. The art installation at SXSW Interactive, created by Dutch artist Nick Verstan, tracks people’s positions in the darkened room using a Microsoft Kinect and other motion sensors to manipulate the display. An algorithm powers the images projected into the inflated sphere, ensuring smooth transitions from deep bold blues to metallic purples to fiery oranges. To visit Anima is to meet a nonhuman entity that knows you’re there.
*⋆
****  Why Art Needs Science: Fashion and Tech's Future *****
Coco Rocha, Kate Parker, Madison Maxey, Piera Gelardi
 *
How can innovations in tech change the way that the fashion industry constructs, creates, and markets clothing? Conversely, how can the arts influence the tech space, especially when it comes to educating future innovators and inspiring more young women to be the makers of tomorrow?
 *
After this session I asked Coco Rocha to give a brief video interview for my fashion drawing students to embrace technology.  And she didJ When I showed the students the videos I followed up by getting them to download Sketchbook onto their phones and draw fashion inspired by food.  The students really enjoyed helping each other figure out ways to use the 3 free layers and create fun garments such as the enchilada jumpsuit with green sauce and the udon noodle soup separates.
*
Hidden in Plane View: Discovering Low-Fi Magic
Kelli Anderson
Design and Development Track
Using strategies like origami, technology labs are seeking ways to make complex problems tangible—to open then up to physical intuition. We may universally think best when we think with our hands. By physically engaging with abstractions, designers can find surprising possibilities."
Dark times for Dark Patterns: Ethical Alternatives
Neil Dawson and Cristina Vigano
Design and Development Track
Presenters pointed out that business goals can encourage deceiving users. Design solutions alternatives to infamous and common dark patterns are options for designers. Presenters focused on using psychological principles and persuasive design techniques to meet goals through encouragement rather than deception.
Next was an amazing interview of President Obama by Evan Smith.
President Obama called on the tech industry to help solve some of Washington's thorniest problems. The president was funny and smart and got a few laughs.
Queer Style: Visual Activism and Fashion Frontier
Aja Aguirre, Sonny Oram, Anita Dolce Vita, Leon Wu
SXStyle Track
This panel explored queer style as an enigmatic art form that is the new fashion frontier. Also examined queer style as visual activism for positive social change. Professional tips on how to succeed in this growing market using approaches that are effective and culturally competent.
Breaking Beauty: Disruptive Technology and Cosmetics
Adrianna Coppola
SXStyle Track
Technology is smashing 'the beauty myth' by helping to empower women, making beauty more personal and allowing more diverse expressions of beauty in society.
Fair Fashion: Profitability and Sustainability
Laurent Claquin, Cara Smyth, Frank Zambrelli
SXStyle Track
A $2.5T industry, fashion is the 2nd largest user of water and 2nd highest polluter, contributing 10% of carbon emissions. Globally, one in six people work in apparel and women represent 80% of the supply chain. While this scale and global integration propel fashion to a top rank on any impact index, it is its nature of constant reinvention that also becomes its opportunity for rapid reevaluation and transformation. Panel discussed  efforts to revaluate ecosystems,] and promote economic and social well-being with market-based solutions reconciled to the bottom line.
How Virtual Reality will Change Fashion
Kevin Cornish,(film) Ssteven Sebring, (Photography) Anarghya Vardhana (Venture Capital)
SWStyle Track
With the fashion industry survival demands being at the forefront of adopting new technology. VR will have a major impact on the fashion world. Exploring VR branding, virtual retail spaces and immersive e-commerce, experts spanning the topics of VR production, fashion photography and virtual reality venture investments The panel explored VR impact that is coming to the fashion world.
Keynote: Daring Greatly
Dr. Brene Brown
Dr. Brené Brown dispels the cultural myth that vulnerability is weakness and argues that it is, in truth, our most accurate measure of courage.  When we step back and examine our lives, we will find that nothing is as uncomfortable or dangerous as standing on the outside of our lives and wondering what it would be like if we had the courage to show up and let ourselves be seen.
Can Austin rule the AI world?
Amir Husain, Doreen Lorenzo, Akshay Sabhikhi, Manoj Saxena
The panelists were in agreement that the world and Austin have only begun to realize the potential that artificial intelligence offers. Saxena said,  “The real power of machine intelligence is in telling you things you don’t know you don’t know,” he said.
Amir Husain, CEO of Sparkcognition Inc., said for many people, the words “artificial intelligence” arouse feelings of worry about machines replacing or harming humans. “I don’t think people should be worried at all,” Husain said. “If you think about it, you should be worried about other things killing you sooner than AI will kill you.”
SCIWARS: Dark Side Tactics to Fight for Science
Jayde Lovell
Art, Science and Inspiration Track
Calls for need for job of “Science Communicator”
This session draws on the latest case studies to deconstruct the communication tactics of the anti-science lobby. It also arms evidence-based organisations with strategies to positively persuade the public whilst maintaining scientific accuracy and integrity.
What’s buzzing at SXSW Interactive 2016
Hugh Forrest
Director of the conference reflected on the big trends, changes, and surprises, especially President Obama’s visit.
Live Coding with Stephen Wolfram
Stephen Wolfram
Design and Development Track
Live and unscripted: see Stephen Wolfram do a new kind of coding – that's powering a new generation of startups and letting anyone turn ideas into reality with code like never before. Stephen has spent three decades building the technology stack that makes possible the Wolfram Language –which powers Wolfram|Alpha and many other things, and is now freely accessible in the cloud. Expect to see Stephen think in public, creating code and answering requests from the audience.
Interactive Dynamic Design: Fashion and Architecture
Behnaz Farahi
Art, Science and Inspiration Track
Designer, USC/Autodesk
Behnaz Farahi is an architect, and interaction designer, exploring the potential of interactive environments and their relationship to the human body. In particular she is interested in the implementation of emerging technologies in contemporary art/architecture practice. Her goal is to enhance the relationship between human beings and the built environment by implementing design/motion principles inspired by natural systems. Application areas include architecture, fashion and interaction design. She also specializes in additive manufacturing and robotic technologies.
Recent advances in interactive design technologies are changing the way in which we engage with the world around us by influencing our perception, ways of communication, and awareness. This presentation explores the different scales at which our bodies are connected with the environment, ranging from an intimate scale and the world of wearable computing and interactive fashion, through to an architectural scale and the world of ubiquitous computing and interactive spaces through series of interactive projects. The ultimate goal here is to enhance the relationship between users and their surrounding environments by implementing design/motion principles inspired by natural systems.
Augmented Reality without the rose-colored glasses
John Rousseau
Design and Development Track
The very nature of reality is about to change. Augmented reality devices will soon be capable of erasing the line between human perception & digital presentation; rendered against the canvas of my consciousness—borderless, pervasive, ubiquitous interfaces that could alter my view of the world, what it means, & who brings it to me. This is a profound human-centered design challenge, with the potential to impact behavior, society & culture. This talk outlines the ethical imperative of applying outcomes-based thinking to augmented reality and draws from from multiple domains of knowledge, to present a new set of design principles capable of guiding the future of AR design.
Subtle Interfaces: Designing calm tech
Peter Bennett, Verity McIntosh, Chloe Meineck, Tom Metcalfe
Design and Development Track
Some of the world’s best technologies do one thing brilliantly. This panel brings together leading UK creatives and researchers who are developing products and experiences that are calm, slow and often magical. When we let go of trying to be all things to all people, we make space for imaginative interfaces and disruptive ideas.
Bruce Sterling Rant
Traditional end-of-the-conference wrap.
Intelligent Future Track
World traveler, science fiction author, journalist, and future-focused design critic Bruce Sterling spins the globe a few rounds as he wraps up the Interactive Conference with his peculiar view of the state of the world from a global perspective, as one who lives in Turin, Belgrade, and Austin.
Tags: ,

Design Talk by Jon Kolko
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honoriartist
https://creativemornings.com/talks/jon-kolko/1?mc_cid=21f3ce06c1&mc_eid=0637c2ee0b

Situationism and Futurism
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honoriartist
Futurism and the Technological Imagination.
(Avant-Garde Critical Studies)Nov 30, 2009
by Gunter Berghaus

https://books.google.com/books?id=bA4zta2tgcUC&lpg=PA67&dq=debord%20and%20futurists&pg=PA67#v=onepage&q=debord%20and%20futurists&f=false

I bet UT art library has this book.

Stories for boxes of Flaneuse paintings
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honoriartist

Color Mammal Box
Flaneuse Exhibition
Spellerberg Projects in Lockhart, TX


Zen Chicken Box
The zen chickens are inspired by the great and fun zen calligrapher, Alok Hsu Kwang-han.  Alok's videos inspire me to create and meditate in Sumi ink.  Another inspiration is Expressive Drawing by Steven Aimone.  I am inspired by chickens themselves, and my favorite breed of chicken is the silkie.

The Fashion Box
Croquis are elongated and idealized figures.
Fashion gives croquis a reason to be.
Fashion projects or hides who we are inside.

Pacific Ocean Box
The Pacific beaches are dramatic places with big waves, rocks, cliffs, and spray.
The Pacific shore pulls you towards it, even as it shows you a strong element of danger.
I sit by the Pacific on the beach or above, on the cliffs, and let paint react to the changing moods of the ocean.

Atlantic Ocean Box
The Atlantic shores on the coast of middle and southern Florida are restful and joyful.
The Atlatic Ocean paintings are summer vacationy and engage in Latin rhythms.
The Atlantic Ocean work includes the bright pastels typical of my home town, Miami.
I paint with sea water and pelican feathers.

The Grid Box
Grids beat a rhythm of repeated shapes.
Inside the shapes different colors of soluble pigments flow together to form poetic combinations within each shape in the grid.
You could say that the combination of rhythm and poetry make a color song.

In design the grid is a key tool used to customize layouts on and off the web.

The Abstract Box
The word abstract means to separate something from something else.
Abstract art doesn't represent a person or an object.
However, abstract art can represent or evoke an emotion or mood. .
Abstract painting is like haiku, you distill and take away until the composition is complete.

You may recognize a thing or figure in the Abstract Box.
But what you recognize is really in your imagination as much as in the painting.
Ask another visitor if they see what you see in an abstract painting.

The Flowers Box
Walk around your neighborhood with India ink or a marker.
Draw the little plants you find all around you.
In spring the plants bloom.
Many other artists, in many cultures, in many styles, have painted flowers.
My favorite flower-painting artist is Emile Nolde.
Nolde's poppies and anenomes are beyond belief.

Young Corn Box
The young corn was growing in a field in Elgin.
I set up in the field and drew all these paintings in 2 sessions in 2014.
The corn grows so quickly.
My goal is to capture the vitality of the crop in its youthful plantlife.

Color Mammals Box
Color mammals explore different combinations of watercolors as they diffuse into each other in short strips.
Paint strips of colors next to each other in a stack.
What if you add legs, neck, head, and tail?
Some of the mammals look like skinny llamas and others look like giraffes.
They are simply color mammals.

The Birds Box
I grew up in Florida surrounded by water and water birds.
My Uncle Laddie (James McGibbon Brown) taught me to paint.
Uncle Laddie painted the waterfowl of the everglades and was especially into egrets.
I have waterfowl and watercolor in my heritage.
These waterfowl paintings question the interactions of positive and negative space, like seeing things in the murk of the swamp.

Rock Art Box
Visit the Pecos Seminole Canyon.
I used powdered pigment and thick texture medium to capture the texture of the rock walls of the pictographs.
The meanings of the original paintings are buried with the people who painted them.
My paintings are interpretations, not copies.

The Circles Box
A circle is a completion.
A zen circle is a meditation.
Circles connect or bubble-bounce against each other.

Animals
Animals from the sea and the land.
Animals from the zoo.
Pets in the homes of my friends.

Big Bend Box
I use the colors, shapes, and textures we find in Big Bend.
I am also inspired by the art community in Marfa and the minimalist art in the galleries.
Yes, I saw and painted the Marfa Lights.

Galveston Beach Box
Hot sand and waves.
Sea birds.
Nearby the International Space Station is guided.

SXSW Interactive Box
Every year thousands of people come to Austin to explore and promote the next networked thing.
I make art-notes inspired by the interconnected energies converging at the convention.

iPad Drawings Box
Paper53 is a drawing app.
Did you know your tablet and your smart phone is also a sketchbook?
Download a drawing app today!
Send illustrated texts filled with lively lines, shapes, and colors.

The Marty Mix Box
Spellerberg Projects asked for a collection of images to use to create invitation post cards.
These images were scanned and 10 of them printed.
200 postcards went out to you and you came to the show.

The Uncategorized Box
This box holds drawings and paintings that don't fit into the other categories.
Look for animals and ghost chairs.

The Over-Size Box
Mystery!
This box holds a mix of paintings.
What do they have in common?
They are larger than 5x7 inches.

?

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