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


emilywarrenart.com
www.instagram.com/emmywahwah/
www.saatchiart.com/emilywarren

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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