Color studies in grids

In my mentoring session with Abbey Ryan last October she suggested simplifying areas of my practice. So far, I have tried simplifying my palette and my brushes. I began a new series as a result of the mentoring session. If you are interested in a mentoring session I HIGHLY recommend it.

In an attempt to continually simplify I took a design course through the Continuing Ed department of School of Visual Arts. I have enjoyed the class. The lecture is brief but informative. The assignments are challenging. I am learning and stretching my creative muscles without stressing myself out.

This week we were assigned color grids. Here are 3 color grids using primary and secondary colors.

Primary and secondary color grids.

This grids remind me of quilt blocks. My mother, grandmothers and great grandmothers quilted. I have a wonderful quilt made by my great-great grandmother. I cherish it because of the history. I admire and respect her unique design. I have never seen the pattern in a book or museum. I was told that she dyed the fabric herself. Humbling. I made these grids using Photoshop and Illustrator.

Thank you for liking reading about my art journey.

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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