Friday, September 6, 2019
By Annamarie Evans
This collection depicts my growth in artistic expression and skill as I navigate through various mediums. These pieces are an assembly of works from projects created for art classes I took at SUNY Oneonta, where I recently graduated after studying Psychology and Studio Art.
During my schooling, I realized that I gravitate towards compositions that consist of ordinary or mundane items. I appreciate that there is both simplicity and complexity in everyday objects, and capturing their essence is a quality that I like to express in my work. In connection to simplicity, my ideal artistic style is realistic and has photographic accuracy. Using charcoal on brown paper has been my favorite method for developing realism as it creates dramatic and lifelike recreations of shadows and highlights. Watercolor has challenged me to achieve that same ideal, but in a completely different way, which has been both frustrating and rewarding. It is much more difficult to create details and be precise with watercolor, but the vibrancy and texture brings a different element of realism that charcoal cannot.
Thank you for taking the time to view my art.
Thursday, August 1, 2019
30" 36" Oil
Carole Southall’s most important influences came from her youth in Texas and Missouri, especially the landscapes, and the storytelling artists such as Thomas Hart Benton and Peter Hurd. She studied printmaking with iconic WPA artist Jacob Lawrence at the University of Washington in Seattle where she earned a BFA, and a Masters in Art History. She works full time as Executive Director of Franklin Street Works, a contemporary art space focused on social justice, and lives with her architect husband in Wilton, Connecticut.
I Welcome Your Inquiries!
8 Freshwater Lane
Wilton, CT 06897
Tuesday, July 2, 2019
Ever look at fuzzy photos and see other things? It's sort of like staring into the clouds. I was looking at old experimental photos from the early 1900's and thought, "those people look like they are caught in the fog." I immediately started thinking of stories to go with the blurry photos and decided to do a series involving people walking through an unidentifiable, misty background? Each one would tell a personal story only known to the viewer.
I used to look at paintings in museums and I would not look at the titles the artist provided. First, I would come up with my own interpretation and then eventually look to see what the title was. More often than not, I was disappointed with this "concrete" description.
Labels are sometimes not needed and my work, other than the main title of Mist Walkers, doesn't need any more influence by me on what you see and how you want to think about it. That's the fun part. You can make these scenes anything you want.
Chalk pastels are edgeless, indefinite and loose and so lend themselves to a misty scene with mysterious surroundings and all of this has lead to the creation of the Mist Walkers.
What story did you create for these paintings?