Before and after

A few weeks ago I had a mentoring session with one of my favorite artists, Abbey Ryan.  The first painting I completed after our session was this one of a single red pear. 

I am not sure I love it.  So today I went in and revised it.

Not sure how I feel about it now that I painted the background ivory black.  I feel like it needs further revision.  All of this leads me to question myself.  Just because I don’t want to look at a painting does that mean the painting is no good?

A week or so ago I was faced with this same question when I repainted dice.  I could over analyze things and comment on how there is a lot of art out there that doesn’t interest me but others worship. The first painting I did of the dice, I could see countless things about it that I simply disliked. I could also see things in it that I liked and appreciated.   Ultimately, I threw it away with some old paint tubes and a tattered paint box.  I was given a ‘hard time’ by my loved ones about this disposal.  I am reminded of the quote: ‘The artist belongs to his work, not the work to the artist.’ —Novalis I feel justified in starting over, throwing out work I don’t approve, and repainting a piece. Right? 

My best,

Emily Warren


Published by Art Belongs to Everyone

Remember Reflect Reform In this work, I have been exploring phenomena of memory augmentation. I experimented with reflections and cinematic images by juxtaposing photographs, paint, wood, and mylar. The direction of the work includes painting intimate, reflective, observations of augmented memories.  I began by building a cabinet of curiosities as a way to form a tableau painting and experiment with different media. Inspired by the relief paintings by artist Sally Han, I built a model of a Victorian cabinet using tenets of Darwin's theory of evolution. I painted on a variety of surfaces including wood, photographs, and adding raw lumber to the pieces. In this process, I disassembled the cabinet to give autonomy to each piece. Although I diverted from the original idea of a final installation, there was an impulse to paint larger. Adding mylar was yet another way to accentuate reflection as a part of the critical dialogue with the work. The final result offers an opportunity to remember, reflect, and reform.

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