Archive for the ‘oil painting’ Category

Artist Talk – “Terra Rosa Wash- oil” 2015

July 25, 2015

Roselynn Imbleau

Studio 2015

“Continuity”

 

TERRA ROSA WASH

TERRA ROSA WASH

 

  • oil on primed paper 24″ x 36″

Artist Talk – “no title” but it reminds me of those things in nature ( fire and rain) 2015

July 25, 2015

Roselynn Imbleau

Studio 2015

“Continuity”

 

FIRE AND RAIN

FIRE AND RAIN

  • mixed media 24″ x 36″
    oil on canvas

Artist Talk – “Winding Road” 2015

July 25, 2015

Roselynn Imbleau

Studio 2015

“Continuity”

 

WINDING ROAD WASH

WINDING ROAD WASH

  • oil on watercolor paper 30″ x 36″
    color is my foundation color

Artist Talk – “Aura In the Distance” 2015

July 25, 2015

Roselynn Imbleau

Studio 2015

“Continuity”

 

AURA IN THE DISTANCE

AURA IN THE DISTANCE

  • Oil on Paper
    24″ x 30″

Charleston On My Mind- oil on primed paper

June 28, 2015

I just finished reading Liz Lerman’s Critical Response Process from http://www.communityarts.net

1. Critical response unlike a basic critique, is a valuable tool, sometimes giving the artists comfortable feedback, or a map for the artist to look closer at premises underlying the work. We need to question our work and hear more than positive comments. 

1. Here is my painting of an accidental encounter.

Studio Development

Accidental Encounter Walking Around James Island- my view of Charleston

Accidental Encounter Walking Around James Island- my view of Charleston that day.

2. A facilitator is necessary in hosting a critique to keep the conversation flowing and moving in a positive direction and to keep people on track. A facilitator gives the set-up for the artist to give affirmation that his or her work is important. It’s important to both the artist and the person (or group of persons) who critique it. It’s important to bring something to the table, a positive comment if you are a facilitator.

Questions: You Might Ask Yourself?

1. Why is it that sometimes the audience or people looking at your work get into a discussion about the content of your work (and it may not relate to the piece)? 

2. Concerning affirmation, why is it important that my work has meaning to others, when in fact, the only person I need to please is myself? 

Suggestions-

When facilitating a critique, it is imperative to ask a question  in a way that makes it neutral. Positive feedback will generate a healthy discussion. Action words, i.e. “it was surprising to see, or compelling to see, or touching to see” opens discourse effectively. I often go with “It was restful to see…” as an opening to a remark.

Studio Visits: If you land upon my blog and artwork your comments are welcome. This is a friendly space for observations or comments.

Suggestions: those are welcome as well. I post various paintings (some are in progress, some are finished).

Find or follow me on Facebook: RL Imbleau Fine Art or Pinterest

Drawings or small paintings on paper I will load to Etsy.

 

Mimi’s Cup With An Old Book- Oil and Relational Aesthetics

June 28, 2015

I just finished reading Relational Aesthetics by Nicholas Bourriaud

1. Art began as a luxury item, (and in the context of urban content), belonged to the church or an aristocratic collector. It was shown in relation to something. 

Reflection: With Relational Artists, artists from the early to mid 1900s, they took away the starting point.

Reflection: We might ask, Why does an artist create? What is the basis of their environment for creating? The work of Social Interslice means you are giving the world a slice of your consciousness.

Conviviality: Artists try to reflect their current experiences while they create similar experiences or encounters for their audience through discussion.

Here is my painting of a non luxury item an old cup, but it has meaning to me (Mimi’s Cup & Old Book).

Studio Development

Oil painting of an "old cup and book on an old table"

Oil painting of an “old cup and book on an old table”

2. As artists, we must take responsibility for the symbolic models we use in our work and especially any transposed meaning across all cultures to not offend. 

Reflection: The artist lives in this social interslice.

Questions: You Might Ask Yourself?

1. Suppose your work is random, but it is formally interpreted in an offensive or negative way, as a social exchange. What do you do? Do you correct, apologize, re-do or perhaps, attach explanation-meaning? 

Reflection: We know the work is not random but research centered- (see Sophie Callie’s work).

2. When I look at art, or experience someone’s art, do I exist, or does the painting exist by itself (like a writing of fiction or non-fiction)?

Reflection: Transmedia creates wide-sweeping implications. Art travels and re-defines itself.

Quote: Oscar Wilde said “modernity” is the moment when ‘art does not imitate life; life imitates art.”

Practice Prompts: *studio recordings, * social exchange, * proximity, *surveys.

Xavier Simmons, who I met this week, is marketing to a behavioral economy through her collective. She creates and stages life-structures and working methods that mimic our culture; she uses time as raw material. Form takes priority over things and flows into many categories, across transmedia.

Studio Visits: If you land upon my blog and artwork your comments are welcome. This is a friendly space for observations or comments.

Words to Ponder:

Aura= air, atmosphere, pervasive quality emanating from a person, place or thing.

human aura= created in the mind

deceptive aura= misleading aura

Suggestions: those are welcome as well. I post various paintings (some are in progress, some are finished).

Find or follow me on Facebook: RL Imbleau Fine Art or Pinterest

Drawings or small paintings on paper I will load to Etsy.

 

The Path To Light- oil and The Loss Of The Creature

June 25, 2015

I just finished reading The Loss Of The Creature by Walker Percy. I don’t have too much to say other than 2 statements:

1. Of the stratagems mentioned: 

-the inside track

-the familiar revisited

-the accidental encounter, I prefer the last.

Here is my painting of an accidental encounter.

Studio Development

The Accidental Encounter

The Accidental Encounter

2. “Access” to a place does not necessarily require the exclusion of others, to be authentic; however, you do gain a different perspective that becomes very valuable when creating art. 

I enjoy a “consumer prepared” experience such as “learning through entertainment,” but I may not take away as much from my experience.

Questions: You Might Ask Yourself?

1. How are we supposed to be an individual if we are always or often part of a group or sub-group? 

Sometimes, it is best to step away from the group in order to see and create.

Note to reflect on: If we lose our curiosity we lose ourselves.

2. Why is it implied when we read material such as this that hearing Beethoven or any music for that matter is better “for everyone” heard in solitude? Yes, you may pick up nuances in the music and appreciate the music better?

I, again, sometimes enjoy communal listening for the social factor. Yes, we sometimes need that “alone time” to experience life, it is awesome! I can relate to meditation. But, sometimes I enjoy being with others, community.

Note to reflect on: an overarching theme in the reading is how to get to a “sovereign” experience? For everyone this is different based upon preferences but a “birds-eye” view can be helpful.

Studio Visits: If you land upon my blog and artwork your comments are welcome. This is a friendly space for observations or comments.

Suggestions: those are welcome as well. I post various paintings (some are in progress, some are finished).

Find or follow me on Facebook: RL Imbleau Fine Art or Pinterest

Drawings or small paintings on paper I will load to Etsy.

 

Clouds Rolling In- Oil on board

May 29, 2015

IMG_1409

oil- $950  16×18.75

I have been away from WordPress for some time; however, not the easel. This image I recently entered into a local juried exhibition called “Carolinas Got Art” by Larry Elder of Elder Art Gallery, located in the South End district of Charlotte,NC.  The show ends May 30, 2015, after being up 30 days.

More info can be found at: http://www.carolinasgotart.com about Elder Gallery. Out of 3,000 entries my work above fell into the group of 107 that were selected by Eliza Rathbone (Chief Curator Emerita for The Philips Collection, Washington, DC), for the May month long show. Even though mine did not win any awards, it was an honor just to be selected.

Find or follow me on facebook at “RLImbleau Fine Art”