Derek Brueckner's Painting Courses Information and Examples of Student Work

Final Painting Assignment

2010-03-17T16:12:00.000-07:00

Objective:
Projects may include: one large painting (3 x 4 feet) with numerous small studies, or a series, and or an installation of paintings, etc. Please note working outside parameters of assignment is negotiable but will require a proposal in advance.

This assignment will place emphasis on emerging artists to personally develop painting (as noun and verb) and to thoroughly investigate painting materials in relation to contemporary ideas. Generally speaking contemporary ideas should have layers of meaning and the work should have an over all synthesis of formal and conceptual (thematic) ideas.

This final assignment should represent a culmination of formal and conceptual ideas based from this Painting course and should be developed in relation to your own innovative and personal expression.

Expand innovative and personal concept building through various preliminary painting processes, and consider formal elements of line, shape, proportion, plane, light and shadow, edges, space, colour, and composition as part of the layers of meaning in the work.

Process:
Having materials available for small preliminary works will be required and aid in the success of your final painting assignment. Prepare yourself with a large variety of potential images/icons and materials to work with, and mentally prepare for reworking, re-editing, taking risks, researching, applying criticism and generally experimenting with conviction.

Periodically students should have consultations with instructor through out the process of the project to ensure that enough work is done and the objective of the final assignment is met. As well there should be an in class dialogue with class peers regarding work.
(As usual positive in class participation is expected).

Options to Consider for Final Assignment:
Some of the assignments listed below (assignments 1-7) relate to painting materials that are more traditional. Some assignments will emphasize formal aesthetics more than others. While other assignments may appear to encompass a greater emphasis towards concept and or expanding definitions/ideas of what a painting can be in terms of contemporary art. Any choice is acceptable as long as you consider the objective (as listed above) in relation to what you choose.

The following assignments are suggestions meant to serve as a guide. This list is not inclusive. For your final project you may wish to work on one assignment or combination of various assignments as listed on other side (assignments 1-7).

Assignments 1-7 (7 Options for Final Assignment):

1) Make a painting or a series of paintings on something 3D.
Work may also include the use of non-traditional surface(s)/materials for applications of painting materials. For example: metal, wood, fabric, resin, glass, and collaged newspapers and stretcher frames that are constructed in an unusual shape. Combining some other materials such as acrylic paint, watercolour, wax, silicon, plaster, or powders may be explored. (Remember to think of art materials and health hazard issues with some materials). Work can also periodically include the interaction of the original colour of a selected material with other coloured surface(s)/materials or the occasional coloured object may be placed on a coloured surface. 20% of time should be spent on 3D component and 80% should be spent on the application of painting.

2) Develop a painting using collage, or text, or a new type of bookwork format as long as an innovative language of drawing and conceptual layers of meaning are demonstrated. Work can also include the interaction of the original (or natural) colour of a selected material with other coloured surface(s)/materials or the occasional coloured object may be placed on a coloured surface.

3) Emphasizing painting, develop a work in relation to one or more technologies: film, video, digital imaging (computers), cyber space, sound, photography, slides, photocopying, and printmaking.

4) painting that is process based, time based, kinetic, or performance based.

5) Expand definition of painting in relation to experimental and innovative contemporary art practices.

6) You may have part of your painting allude to a cultural critique addressing an issue or a combination of issues such as: economic class, power, gender, sexuality, or ethnicity.

7) Through a painting process with the model develop innovative and personal concepts in relation to pictorial space, and consider formal decisions in relation to the layers of meaning in work

Painting 1 course Final Painting Project 2010

Mixed media painting on stretched canvas with guitar pickups, effects switch and amplifier

(painting approximately 3 x4 feet)

Painting 1 course Detail of Final Painting Project 2010

Painting 1 course Final Painting Project 2010
3 x 4 feet

Thematic Painting Assignment (Symbolism and Metaphor Assignment)

2010-02-28T21:15:00.000-08:00

Painting with Symbolic/Metaphorical Content

Assignment will be worked on in class and it is expected that the assignment should be worked on outside of class as well.

Objectives:
Large Painting (3 x 4 feet) with numerous small studies/preliminary work. Note half a letter grade will be lost if studies are not integrated into the process of the work. This means not doing studies at the completion of the assignment. As in previous assignments the “Thematic Assignment” will continue with the formal investigation of various painting materials, thick applications of paint to thin glazes, composition, mark making, forms, space and color. Unlike previous assignments this Thematic Assignment places more emphasis on developing and expanding themes that will involve choosing symbols, metaphors, allegories, narratives, icons, signifiers, myths or combining some of these choices. Concept building and expanding thematic layers of meaning in this assignment will become an essential part of the working process.

Primarily painting mediums are required for this assignment to depict an advanced level of symbolic and or metaphorical subject matter (see below points 1 to 8 under Thematic Subject Matter heading). Other non-traditional materials may be used in addition to the primary use of painting materials. You also have the option of developing collage and or using text as a partial component in the work as long as the objectives are demonstrated.

Thematic Subject Matter (forms and spaces):
1) Subject matter should consist of as many forms as possible, referencing: figure(s), objects, landscape and or interiors/exteriors of architectural settings.
2) Space should vary from deep to shallow with forms having varying degrees of volume to flatness.
3) Avoid literal or conventional methods to depict shallow and deep spaces. Spaces and forms can be representational, fragmented, collaged, abstracted, or a combination, but consider that each choice of space will convey specific thematic content.
4) Subject matter does not have to be obvious in terms of conveying a direct narrative but should have as many layers of meaning (symbolism) as possible. Also perhaps your mixing of colour or type of coloured mediums could be representative of something in the painting (symbolism of colour).
5) This Thematic assignment will require research or at least demonstrate an understanding of themes from art historical and contemporary art contexts.

Points 6) 7) and 8) are optional:
6) Have part of your painting allude to a cultural critique addressing an issue or a combination of issues such as: economic class, power, gender, sexuality, or ethnicity.
7) You may want to consider the possible symbolic content of the surface(s) you are drawing on (for example: metal, wood, fabric, plastic, glass, collaged newspapers) or the occasional coloured object you may place on the surface.
8) There is also the option of moving away from a rectangular picture, consider that the work’s overall shape can be part of the thematic content.

Steps of Process for Thematic Painting Assignment:
Once again avoid having every formal and conceptual (thematic) component of your drawing pre-planned or “figured out” before you begin. This will eventually suffocate any desire to work, because it is impossible to pre-plan every step in the process and get positive results. Embrace a process that is intuitive and a process that will evolve out of some very basic or simple initial ideas. As one example you may start with a variety of clichéd thematic imagery anticipating that those initial ideas will eventually be expanded into a more sophisticated type of thematic content.

If you are stuck with no ideas it is best to immediately start working with some general symbols or metaphors and some random subject matter. Just start with some random images to initiate ideas. Do not wait for ideas to come into your thoughts. Sometimes you have to start with a weak idea and build from that initial idea. It is important just to continue drawing random images in your preliminary works and to continuously gather as many images as possible. This random imagery will eventually lead to ideas, which will then evolve into a clearer concept as you progressively work through the editing process.

*** Prepare yourself with a large variety of potential images and materials to work from, and mentally prepare yourself for risk taking, reworking, re-editing, researching, applying criticism and generally experimenting with conviction, and also have materials available for any small preliminary works and you will have a very successful work or series.

Basic Definitions:

Definitions of Symbolism:
1. The use of symbols to invest things with a representative meaning or to represent something abstract by something concrete
2. The artistic method of revealing ideas or truths through the use of symbols
3. A 19th century literary and artistic movement that sought to evoke, rather than describe, ideas or feelings through the use of symbolic images
4. The belief that the bread and wine used in the Eucharist are symbols and not literally the flesh and blood of Jesus Christ. (Other significant spiritual or religious icons could apply).

Definitions of Metaphor:
1. The application of a word or phrase to somebody or something that is not meant literally but to make a comparison, for example, saying that somebody is a snake.
2. All language that involves figures of speech or symbolism and does not literally represent real things.
3. One thing used or considered to represent another.

Definitions of Allegory:
1. A work in which the characters and events are to be understood as representing other things and symbolically expressing a deeper, often spiritual, moral, or political meaning.
2. The symbolic expression of a deeper meaning through a story or scene acted out by human, animal, or mythical characters

Themes in Relation to Art History and Contemporary Art:
This Thematic assignment will require research or at least demonstrate an understanding of themes from art historical and contemporary art contexts.

Many historical art movements have thematic content that have or partly include layers of symbolism, metaphor, allegory, narrative iconography, motifs, narrative and or mythology. This thematic content occurs in Western and Eastern cultures, research and consider ideas from both cultures for this assignment.

As well many contemporary artists convey ideas about their work through choices of materials and subject matter in their work. Consider the manner in the way an artist uses images and subject matter. As well, the way the material’s are used and manipulated in any given work will play a part in conveying thematic content to the viewer. Many contemporary artists use thematic content that involves symbolism, metaphor, allegory, iconography, motifs, narrative and or mythology. Some possible contemporary themes (as discussed last term) include ideas relating to economic class, the world economy, the environment, mass media and technology, power, gender (feminism), sexuality, identity, or ethnicity (post-colonial critique). Develop any of these potential themes (or other themes not listed) that are visually and formally poetic, thematically/conceptually layered, innovative, and generally not a cliché visually and conceptually.

As part of your research utilize some of the ideas presented in the Contemporary Art Presentations by classmates, the optional reading list and texts and journals at the Fine Arts/Architecture Library for further information.

Examples of Thematic Paintings and Drawings

2010-02-27T11:52:00.000-08:00

The examples below do not offer examples that address the Thematic Assignment completely but instead offer ideas that may assist people with the assignment. As the above Thematic Assignment text indicates thematic content can potentially take form in various ways. Most of the examples do not demonstrate completed Thematic Assignments but instead are good examples of work that could be components or parts of a Thematic Assignment. Often innovative and unique parts for a theme can be discovered in the studies or preliminary works where a random image may be chosen.

Painting 1 course 2005

This above work is perhaps too obvious in terms of a political critique that involves and addresses important issues regarding Globalization/Multinational Corporations and their relation to culture. The above Painting also requires more use of colour and is perhaps a bit of a one liner but is large in scale and offers an intricate work with some interesting use of different materials in combination with paint. As well the painting surface is modular and is comprised of metal and canvas surfaces. Overall this is a good start for a painting with thematic content. Perhaps something else could be added to expand concepts in the work that is less literal in terms of corporate logos and the American dollar bill and flag.

Detail

Painting 1 course 2005

(example from Fundamentals of Drawing course 2004)

In terms of personal thematic content the sand traps of a Golf Course for this artist offers memories of time with her father. She saw the golf course as the only time she was able to spend time with her father and never did enjoy golfing, but played the sport in order to spend time with her father.

This work also makes a slight reference to environmental and or ecological issues of the natural uninhabited land being violated by the golf course. In this example the work begins to have layers of meaning for the artist and potentially for the viewer.

Advanced Painting course

Self Directed Assignment 2006

The eaten Apple has obvious biblical references to Adam and Eve.

However in this example the aboriginal artist uses the subject matter to explore the negative connotation of being labeled an “Apple” (Red on the Outside and White on the Inside)
As a metaphor he felt that most of the red has been taken away and all that is left is the decay of the white.

Advanced Painting course

One example from a self portrait and identity paintings series completed by student

Self Directed Assignment 2006

The Forced Posing of childhood portraits and Family Pictures. (Self Portrait)

Notice the forced smile and the child has taken a piece of cake before the staging of the photograph has been completed.

Perhaps this image is also about challenging negative Western stereotypes of Women of Asian descent who are constructed and misrepresented as docile and not willing to challenge authority

Painting 1 course 2006

Tree Ghosts

Advanced Painting course 2006
approximately 4 x 5 feet

In the work above a pre-colonial Aboriginal painting is depicted (Location is in actual Interlake area in Manitoba) The artist has added the Loon who is considered to be “the Trickster” in aboriginal culture.

Painting 1 course 2010

approximately 6 x 8 feet

Painting 1 course 2010

3 x 4 feet

Painting 1 course 2010

3 x 4 feet

Preliminary work for Thematic Assignment

Painting 1 course 2010

12 x 16 inches

Painting 1 course 2010

3 x 4 feet

Painting 1 course 2010

approximately 2 x 3 feet

Painting 1 course 2003

oil and acrylic on board 14 x 48 inches

Painting 1 course 2003

Work In Progress of previous image

oil and acrylic on board 14 x 48 inches

Advanced Drawing 2 course (Self -Directed Assignment) 2011

acrylic on paper

24 x 18 inches

Advanced Drawing 2 course (Self -Directed Assignment) 2011
acrylic and pen on board
48 x 24 inches

Images with Multiple Interpretations and Meaning

When an image/subject matter is depicted in a more abstract or expressionistic way there is greater potential for the image to be viewed or read in a way that allows for more than one interpretation or single meaning of the image. In poetry sometimes a word can have multiple meanings or conceptual layers in a poem but at the same time connects to the overall theme of the poem. Images and subject matter have potential to operate the same way in the overall theme of an art work.

When viewing the two examples of work below, what are the 3 or 4 images seen simultaneously or layered into each single image?

Two examples above are from Fundamentals of Drawing courses both 24 x 18 inches circa 2004

Presentations on Contemporary Artist

2009-12-06T21:54:00.000-08:00

Presenters for Tuesday Feb 2
Linda
Ryan
Giuliana
Patrick
Victoria
Andrea
Riley

Presenters for Thursday Feb 4
Jeanine
Erin
Allison
Carole
Alexander
Anasia
Brittany
Jeanine

The above Painting 1 students will be required to do a 10 minute presentation on a contemporary artist or contemporary art movement. This assignment is for clarifying what Contemporary Art is in terms of new contemporary ideas for art in the 21 Century.

This assignment will require you to focus your research in the Architecture/Fine Arts Library or other libraries. This assignment does not require presenting contemporary painters, but does require contemporary ideas that could be used in painting practices. You may use images from on line but all text information should come from your research from texts in the library.

Generally enough information and a variety of images should be presented in the 10 min presentation to inspire a 5 minute discussion and or comments from peers in the class. DVD players, web access and a data projector will be available. Please indicate by Thursday January 29 if you require any other type of A/V equipment that is not listed above.
Bring images in Jpeg format and links that can be accessed on line.

For Clarification here are some Suggested Readings, Ideas and Topics Regarding Contemporary Art:

Sample of Contemporary Ideas and Terms used in current art practices:

Post-Modernism

Race

Identity

Gender

Sexuality (marginalization of people of an alternative sexual orientation or a cultural repression or misrepresentation of sexuality)

Globalism (21st C)

Feminism

Post-Medium Art (Rosalind Krauss)

Post-Colonialism

Semiotics (signifier and signified)

Economics

Environmental Issues

Urbanization

Media

Politics

Abjection

Irony or satire (re-contextualizing something that is cliché, conventional or kitsch

Books at Fine Arts Architecture Library such as:

Brandon Taylor, Contemporary Art since 1970

Michael Archer, Art Since 1960

Edward Lucie-Smith, Art Tomorrow

Artspeak, (dictionary) Robert Atkins

Survey Art History Books at Fine Arts Architecture Library such as:
Marilyn Stokstad, Art: A Brief History 3rd ed. 2007 pages 582-598

Hugh Honour & John Fleming 7th ed. 2005 Chapter 22

“Vitamin P: New Perspectives in Painting”, Barry Schwabsky

“Vitamin D: New Perspectives in Drawing”, Emma Dexter

Journals at Fine Arts Architecture Library such as:

Art in America

Border Crossings

Art News

Mix

Art Forum

Art and Paper

Canadian Art

October (art theory and criticism)

Flash Art

Frieze

Modern Painters

Art Journal

Yishu (Journal of contemporary Chinese art )

Modernist / Pure Abstraction Assignment

2009-12-01T05:04:00.000-08:00

Revisiting the formal, pure and physical languages within the painting discipline

Assignment and Objectives:
Complete a large-scale painting on stretched canvas (3 x 4 feet minimum) with small studies that emphasize concepts demonstrating the language of painting. The work should demonstrate a variety of formal concerns in the picture plane such as the use of colour, shapes, scale shifts, composition and mark making using primarily oil paint, but may use acrylic and or commercial house paint as a base for the work. You have the option of developing collaged materials into the painting provided the above objectives and the points below are followed. All attempts should be made in the painting assignment to not reference anything representational.

1) Your painting should consist of as many forms and spaces as possible with a complex but unified composition in each work. Consider intervals between elements and allow for focal points where there are areas of multiple overlapping shapes that interact with each other while simultaneously interacting within the overall composition.

2) Space should vary from deep to shallow with a variety of line and shapes. Also consider variations of visual weight in the line and shapes.

3) Avoid literal or conventional methods to depict shallow and deep spaces. Spaces and forms can be fragmented and or abstracted through experimentation with painting materials.

4) Consider the reality of the painting medium (language of the medium) on the 2 dimensional surface of your picture plane. (thick and thin applications of painting mediums and mark making) and consider your options in terms of a surface. Some areas will require numerous layers of painting materials while other areas will work with minimal applications of materials. As well during the painting process some areas of the paintings should involve scraping and erasing.

Studies or Smaller Preliminary Works:
The purpose of the studies is to assist you in the investigation of this assignment. All the objectives do not have to be met in each study but rather should be used to take risks and experiment with to find all the required objectives. The studies are not about making something small and then duplicating that small study at a large scale. Instead the studies and the larger work should feed off each other. During the process there should be a back and forth of working between the studies and the large work (especially at the beginning stages of the painting) As well studies may include manipulations of digital photos of the large work taken while in progress. In general it is strongly recommended that you photograph the work in progress and periodically make some inexpensive prints at home to work on in order to consider all potential directions to develop the work. Overall experiment and investigate various options thoroughly with the studies and the large work.

Steps of Process to Consider for Developing Painting(s):
Avoid having every formal and conceptual component of your painting pre-planned or “figured out” before you begin. This will eventually suffocate any desire to work, because it is almost impossible to pre-plan every step in the process and get positive results.

If you are stuck with no ideas it is best to immediately start painting with vague ideas and some random organic and geometric shapes such as in some of the posted examples.

Prepare yourself mentally for a process of:
risk, unexpected direction, layering, reworking, researching, making small preliminary works, applying criticism, generally experimenting with conviction in your painting, and you will have a very successful work.

Optional Readings (Assistance in developing assignment):
Also there is the option to consider excerpts from Search for the Real a small book by Hans Hofmann, or excepts from survey books such as Art Speak by Robert Atkins (small book), The Visual Arts: a history by Hugh Honour and John Fleming, 7th edition p 844, and essays: Modernist Painting by Clement Greenberg. Considering the Hofmann, Atkins, Honour/Fleming and Greenberg's readings may assist you when developing ideas in your painting.

For a broader view outside the Modernist /Pure Abstraction painting assignment objectives other texts such as Art of the Postmodern Era, by Irving Sandler, Contemporary Art: Art since 1970 by Brandon Taylor, Five Faces of Modernity by Matei Calinescu and essay: Action Painting: Crisis and Distortion by Harold Rosenberg. These other texts offer debates, alternatives and opposition to Greenberg’s ideas regarding Modernism.

EXAMPLES for GUIDANCE
The examples presented here for the Modernist assignment are meant as a guide. Not all examples below meet all of the objectives for the assignment but instead offer a range of partial ideas that can be cohesively comprehended, synthesized and applied to the specific requirements of the modernist assignment.

For additional student examples of a similar assignment from my drawing courses please view the following link:
http://derekbruecknercourseinformation.blogspot.com/2009/06/pure-abstraction-modernist-drawing-and.html

Advanced Painting 4 x 4 feet mixed media and paint on collaged paper Spring 2005

Advanced Painting 4 x 4 feet mixed media and paint on collaged paper Spring 2005

Advanced Painting 4 x 4 feet mixed media and paint on collaged paper Spring 2005

Painting 1 course 2003

(the above four images are four different stages of same work)

approximately 4 x 3 feet

Painting 1 course 2003

(the above two images are two different stages of same work)

approximately 3 x 4 feet

Advanced Painting course 2005

approximately 3 x 2 feet

Painting 1 course 2003

approximately 18 x 24 inches

Advanced Drawing (2nd Year Drawing course) June 2002
Stage 1 of Project
This work is from a 2nd year drawing class but even for an intro painting course demonstrates an exceptional use of scale and editing in the next 5 images posted below. For the purposes of this particular painting 1 assignment students should avoid representational references or illustrating (no outlines on forms) and no using black.

Stage 2

Stage 3

Stage 4
An exceptional example of editing and risk taking

Stage5

Advanced Drawing June 2002 Final Stage For the purposes of this particular painting 1 assignment students should avoid representational references or illustrating (no outlines on forms) and no using black. As well this assignment will require working on stretched canvases or rectangular/square boards with no found objects inside or outside the picture plane (such as the interesting context of the paint can presented in this example above)

Fundamentals of Drawing circa Feb 2001   approximately 18 x 24 inches
This small work is from a foundations drawing class but even for an intro painting course demonstrates a very good combination of organic and geometric shapes and some interesting figure ground relationships are demonstrated as well. For the purposes of this particular painting 1 assignment students should avoid representational forms (such as cityscape references in this example) or illustrating (no outlines or using black)

circa 2002 Above Image is Earlier Stage of Painting Below   approximately 18 x 24 inches

circa 2002 Final Stage   approximately 18 x 24 inches

circa 2002 Above Image is Earlier Stage of Painting Below   approximately 18 x 24 inches

circa 2002 Final Stage approximately 18 x 24 inches

Fundamentals of Drawing Feb 2002
This work is from a foundations drawing class but even for an intro painting course demonstrates an exceptional use of scale and a good use of geometric shapes and pattern with some preliminary understanding of gesture and mark making. For the purposes of this particular painting 1 assignment students should avoid representational references or illustrating (no outlines on forms)

Fundamentals of Drawing Feb 2009 approximately 8 x 4 feet
This work is from a foundations drawing class but even for an intro painting course demonstrates an excellent use of scale and a very good combination of organic and geometric shapes. For the purposes of this particular painting 1 assignment students should avoid modeling forms or illustrating (no outlines or high lights or shadows on forms)

Painting 1 course 2003

(the above two images are two different stages of same work)

approximately 3 x 4 feet

As well see other examples of Pure abstraction from Derek Brueckner's Drawing course blog:

http://derekbruecknercourseinformation.blogspot.com/2009/06/pure-abstraction-modernist-drawing-and.html

Colour Wheel Assignment and Information on Colour

2009-09-29T23:45:00.001-07:00

For the colour wheel assignment paint the 3 rings of colour along with the warm and cool primaries (double primaries) as in the example below. Depicting the arrows is not required.

Start with the double primaries and the outer ring first. If you wish you may use other shapes besides circles such as as squares or triangles, just make sure that the shape is a consistent size with in each ring.

Additional Information regarding colour theory and colour systems that should be used in all assignments for class:

Definitions

Complimentary Colour: Hues that are located directly across each other on the colour wheel. When complimentary colours are placed beside each other they optically create a greater sense of intensity. This allows for greater contrast within an area of a painting. When the complimentary colours are mixed this neutralizes any hue and the intensity of the hue decreases, which may also be used to decrease contrast within an area of a painting. Collectively this becomes essential to a painting when considering the "push and pull" of colour and shapes within a painting.

Analagous Colour: Hues that are beside each other on the colour wheel. - Often this colour system can replace or augment the use of white (tinting hues) or when using neutrals (such as browns, grays, etc) Overall the use of analagous colour presents a sophisticated approach when depicting highlights or shadows in the hue of a coloured shape or space. When using the proper primaries (as demonstrated in the double primaries colour wheel assignment) analgous colours/hues will maintain their intensity.

Value in Colour

Value and Intensity

For furhter information on colour mixing and colour theory see:

Colour: an Introduction

AND

Terminology of Colour Mixing

Figure Painting

2009-09-09T18:54:00.000-07:00

Advanced Painting June 2005
approximately 20 x 16 inches

Advanced Painting June 2005

approximately 20 x 16 inches

Advanced Painting June 2005

approximately 20 x 16 inches

Advanced Painting June 2005

approximately 18 x 24 inches

Advanced Painting June 2005

approximately 20 x 16 inches

Advanced Painting June 2005
approximately 3 x 4 feet

Advanced Painting June 2005
approximately 3 x 4 feet

Advanced Painting June 2005
approximately 2 x 3 feet

Advanced Painting June 2005
approximately 2 x 3 feet

Painting 1 course 2005

approximately 18 x 24 inches

Painting 1 course 2003

approximately 24 x 18 inches

Fundamentals of Drawing course 2009

24 x 18 inches

Still Life

2009-09-08T08:26:00.000-07:00

Flatbed Picture Plane Assignment and Pluralist/Eclectic Assignments

2009-08-23T18:27:00.000-07:00

DetailDetail

Basic Design Summer 2006
This assignment does not meet all the objectives for the Flatbed Picture Plane Assignment but has an interesting combination of abstract organic form with cartoon (pop style) imagery and colour.

Painting 1 course

Study for Flatbed Picture Plane Assignment

2006

Painting 1 course

Pluralist/Eclectic Assignment

oil, acrylic and ceramic tile on canvas 3 x 4 feet

2010

Two Additional Examples of Thematic Work (Symbolism and Metaphor Assignment)

2009-08-22T05:06:00.000-07:00

Painting 1 course

Thematic Assignment 2003

Basic Design course 2002