Lighting experiment

I set up a new composition with a new lighting scenario. Because I love the old masters and the contrasting lights and darks, I wanted to experiment with higher contrasts in my lighting situation. Also, this skull has been on my list of things to paint for months.

The green participation ribbon has been in my classroom since before winter break. There were two ribbons. Someone, or multiple people, taped them to a cabinet. I left the ribbons hoping someone would collect them and honor them. That day never came. As I was cleaning the room for summer break I almost tossed this ribbon out with the rest of the forgotten classroom relics. I looked at it alone in the trash basket and decided to rescue it by painting it.

work in progress, 12×12, oil on panel

I took this photo with artificial lighting. There are lots of details to finish and I have a lot of sculpting to do on the skull. I am happy with the way it’s shaping up. I lit this with a single light source from the left. I need a lot more contrast to make this look like the photo below, but I will get there. The most difficult part is seeing the paint as I mix it. With limit light it’s difficult to determine if the paint color is correct. Challenge! undefined

Thank you for following along with me in my painting adventures.

My best,
Emily Warren


emilywarrenart.com
www.instagram.com/emilywarrenstudios/
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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