Could've continues. I'm adding color and reworking elements as I go. I'm figuring out how I'm going to resolve the background behind the two female figures. I feel the mail figure on the far left is just astoundingly resolved. It was one of those cases where I paused for just a moment long enough to stop myself from ruining a good thing. Sometimes it's not always about what I do, but what I don't do. That's why I'm calling it a night early on figuring out what to do for the background. I might very well see my query to resolve the background to tie the two female figures into each other as a bad idea.
I have a feeling that it's really about the male figure far left and the female far right. I think the central figure despite her compositional dominance is merely the subplot of the story. Now I need to figure out if the female character on the far right is in flight or merely recognizing an old friend. Maybe I'm not supposed to know and just enjoy the tension.
I remember a long time ago my High School Art Teacher Sid Travis pointed out a painting in a magazine that depicted the dangling feet of a hung man with men on horseback looking like they just road up or committed the hanging. He pointed out the psychological created by the composition and the ambiguity of the scene. He told me that was what good art was about - making the viewer write the story in their head.
Later David Sklar my painting professor at SCC and mentor differentiated the difference between propaganda and art. "Propaganda tells you what to believe, art asks you to believe", David Sklar.
I guess that's really a big part of my definition of what making good art is about.
No comments:
Post a Comment