Quote:
Originally Posted by herr_oberst
Shaun, those are impressive. What I like about "Lust" is that there's depth and texture in the darkest darks, the red shapes down the center draw the eye and make me try and discern familiarity and the bright oranges balance the dark without adding unneeded tension. (the tension is in the bright red)
I immediately thought of "Wake" at the Seattle Olympic park when I saw the c/f installation idea. It's fun to think about how those people squeezed into the center of the foreground walls. Is it kinetic? Are those people contortionists? Am I overthinking?
Anyway, another layer of the onion that is your creativity.
|
Thanks Mike, everyone see's something different in that painting. I'm drawn to the inferno on the left, myself. The red slashes were critical in the work's evolution, the final expression to separate the two sides which were muddy when I was first done and you are spot on, it had no tension and wasn't very interesting. Your had no where to go. The red was a gamble, a necessary one, and it paid off.
Richard Serra's brilliant work is the least kinetic works of art imaginable. You just walk among and inside it like the exhibitionists in the pic. What I want to do is take what he did in steel and make it wispy, but still massive, but it would move with a gentle breeze. It would take me 2 months of doing nothing else to create my vision. So it's not going to be realized any time soon.