Project Statement


train: wheels traveling on parallel tracks enabled by intersecting linear elements

Create 10 drawings exhibiting a unified voice by exploring the Golden Ratio as found within a locomotive drivetrain. The graphite on paper works will be executed in the coming months based on photographs of a decapod steam engine taken by the artist in 2009 at the North Carolina Transportation Museum in Salisbury.

The compositions will use rotation within the confines of strict frontal views, and employ only shadow and detailed material rendering to develop a sense of depth. The conversation between subject and composition will draw on the “idea” of train and the inverse notion of what might be seen if the train moved around the wheel.

All 10 pieces will be the same size, each containing some part of a wheel in order to ground the viewer within the abstraction, much the same as the role the wheels play as they ride the rails.

Progress Bar

Progress Bar
Progress Bar: Five drawings completed

Wednesday, January 25, 2012

Drawing 1: Realism... Why not just take a photo?

Does anyone remember the scene in the first Indiana Jones movie where the Middle Eastern sword master comes at Indie with a highly skilled set of broadsword flourishes and swoops only to have the hero pull a revolver on him? The irony could easily be applied to realistic artwork. Why go to all this trouble just to reproduce something by hand that a readily available technology could do faster and better? Well the answer depends on the artist and what they set out to do with their art.

While my drawings look realistic they are about something other than copying reality - they're about form, texture, and proportions. Pretty standard stuff in art lingo, but I guess the difference comes down to the execution. Art should capture some sort of essence that appeals to the eye of the viewer and pulls them in. The best way I've heard it described is that if you were walking by the work would you stop and take a closer look. I'll leave it up to you to decide whether what I do would fit that criteria.

The textures I draw contribute a lot to the realistic feel of the work. As I render them I try to think about the material and how its surface reflects its nature. In these drawings metal is the obvious thing that I'm thinking about, but therein lies the challenge - How does one differentiate between all that similar material? The subject helps with that, as there are many different surfaces that span the range of wear and tear and carry with them the marks of how they were made. This hits on some of that "essence" I mentioned.

The form and proportions work on another level than the textures. If you squint at the drawing and force the surface treatments to blur, the compositional elements should jump out as you get past the "reality" of the textures. Some artists strive to highlight form to the point of abstraction, where the textures are completely avoided. I like the added depth they bring to the works and so I go the other way and highlight them.

Here's a couple more pictures in the progression of the first drawing. I hope you can see some of what I commented starting to happen in the piece as it gets closer to completion.

Thanks for dropping by!!


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