The Very Fine Art of Assemblage

Quote from Picasso:

 The artist is a receptacle for emotions that come from all over the place;   from the sky,   from the earth,   from a scrap of paper,   from a passing shape,   from a spider’s web.

In 1961, the Museum of Modern Art New York MOMA held an awesome retrospective exhibition of Assemblage.

Some of the exhibiting artists of the past in this retrospective:

KURT SCHWITTERS - used wire, wood, mesh, paper, cardboard

PABLO PICASSO - used chair caning, painted wood pieces, upholstery fringe, sailcloth, nails

ARTHUR DOVE - used roof shingles, needlepoint, compressed flowers in a piece called "Grandmother"

LOUISE NEVELSON - boxes of many shapes, balusters, finials, arms, legs from tables, chairs, spindles

JOSEPH CORNELL - used astrological charts, uncoiled clock springs, apothecary jars, and went out   gathering in the streets.

Second Hand Rose
Assemblage - 27" x 15"
Carole Segal

a)   Assemblage is an artistic process in which a three-dimensional artistic composition is made from putting together found objects.

b)   Assemblage is predominantly assembled, rather than painted, drawn, modeled or carved, but may include all of these in the process of creation of a fine art Assemblage.

c)   Entirely, or in part, the elements are preformed or manufactured materials.  Objects or fragments, not intended as traditional art materials, but definitely are used as art materials in an eclectic, artistic way.

d)  Assemblage artists create objects by collecting and gathering, and is a specific of found art, which simply means art made from previously made objects found by the artist

Some exciting Assemblage artists of today:

PATRICIA NIX famous for her altars and icons
EVE DAMIE famous for her Egyptian Nefertiti Assemblages
LEO KAPLAN famous for his box art

I collect, hunt and gather for unique pieces in antique shops, flea markets, junk shops, and dollar stores. Seldom do I use glue only for joining.  I have learned to use drills, hammer, nails, screws, and clamps, and fabric bandaids.

HUNTING AND GATHERING

A few of my finds

More finds

yet more finds

My assemblage work could be defined as feminist, avant garde, and modern day kitch.

A

Detail from "Femininity"
Carole Segal

There are no rules for creating assemblage. My work is based on design, composition, texture, colour and is very labour intensive.

They are pieced together and embellished with such elements as mirror, mosaics, carvings,  The process of gold leaf, paint,  fabric gives additional freshness to the quality of my work.

My Obsession with Venice

You may have the universe if I may have Italy"

- Guiseppe Verdi -

"Venice is like eating an entire box of

chocolate liquers in one go"

- Truman Capote -

How to describe what Carnival in Venice is about?

baroque madrigal street musicians

masked costume balls in palazzos

la traviata at the Fenice Theatre

the music of Vivaldi

Commedia dell'arte: ie: harlequin, pulcinella, columbina in costume

Carnival in Venice - Carole Segal
Mixed Media on Handmade Paper
15" x 22"

to see an amazing video click here

Not too long ago, I was fortunate to be able to spend several days in Venice.

Although I was not in Venice during Carnival, the sights were awesome to say the least. No matter which way I was facing, what I saw was the amazing architecture of Venice.

Assemblage of Carnival in Venice
Carole Segal   20" x 20"

Traveling the Grand Canal each day, walking through the cobblestone streets in quaint neighbourhoods. Dining at outdoor cafes, and just being at Piazza San Marco at dusk sipping my limoncello while an orchestra played was inspiration enough.

in piazza san Marco

Shopping on the canal

Lobby of my hotel

Gondolas

Shopping in Venice

My hotel Palazzo Sant'Angelo sul Grand Canal, being a small boutique hotel of 24 rooms,a reconverted palazzo, http://www.palazzosantangelo.com designed in the grand baroque style was facing the Grand Canal. The hotel is situated right on the Canal between L'Accademia and the famous Rialto Bridge.

Carnival in Venice happens in February of each year during the period of lent. This year's Venice Carnival 2011 has some outstanding opulent events to engage the pleasure of the senses. Wishing I could be there and partake of the costumes, music, and of authentic Venice in the 14th century. http://www.venice-carnival-italy.com

Movies that I have enjoyed, filmed in Venice:

"Summertime" Katherine Hepburn and Rossano Brazzi

"Roman Holiday" Audrey Hepburn and Gregory Peck

"The Wings of the Dove" Helena Bonham Carter

"Artemesia" Valentina Cervi and Michel Serrault

"Casanova" Heath Ledger, Sienna Miller, and Jeremy Irons

My artwork and photography, which are presented here grew out of an obsession with Venice. For years I collected Images, found objects, learned polymer clay techniques in Molding and finally the artwork grew and thrived under the Venetian influence.

The Amazing Art Challenge

A good philosophy for artists to follow”

“Great Painting is never Perfect,

and Perfect Painting is never Great”

The Art Challenge started as an experiment, with three painting friends. The intention being to paint from the same photo. Three more have since joined. So that we are all on the same page, each artist gets a turn to send a photo to the others.

The challenge is to produce paintings that push beyond the comfort zone using different approaches. Believe me it’s a struggle when you receive the photo, and you say “what am I going to do with this”? We each have our own personal style, and there is no perfect way to do art. The idea is to not copy the photograph slavishly, but to interpret. I am even suggesting using two photos together, ie a figure photo, together with a landscape, or street scene.

The medium: oil, or oil with acrylic underpainting, or mixed media. Size of surface, and style of painting is up to each person. There needs to be structure so I am suggesting deadlines for each challenge. We are trying to stay on course, and stay focused if we are to accomplish a good strong cohesive body of work for our group. There should be no sense of competition, as this leads to frustration and blocks creativity. We will review strategies for the future. You never know if and when we will be asked to do some publicity.

"Cintas en el Viento"

(Ribbons in the Wind)

Oil on Canvas

24" x 30"

Photo taken in Oaxaca, Mexico

The Human Form - an unending challenge

I have taken several workshops from a wonderful French instructor by the name of Jacques Clement of Montreal. Most ateliers work in charcoal, pencil, etc......here in Jacques Clement's workshops we work in a studio situation with oil sticks, oil pastels, and oil paint directly from the model.

  

 

Why do artists continually paint from the live model.  I must tell you that I do not exclusively paint from the model - I create in other areas as well, but none are as challenging as being confronted with the model posing in an atmosphere of drama of light and shadow.  The technical difficulties of working with the oil sticks, are endless, but the possibilities of expression are great.

When confronted with the model,  you are communicating with your model and her gesture. Your drawing will be an experience that is unique to you.  If you are successful, your work with the model will evoke an aesthetic emotion....one that a good painting should bring forth, whether the subject is the human figure, a bouquet of flowers, or a plein air landscape.

Jacques emphasizes organization of pictorial space.  How you place the model on your paper can determine success.  You start with one big shape on your surface....and do not think too much...just do it.

  

    

The above photos are beginning steps for placing the model and first brush strokes of colour. Permission and photos taken by Libby Krul another of the workshop participants. 

An ochre background (light value) with a terre verte shape (dark value) for starters will work, making sure that you have interesting negative shapes and at the same time creating movement and beautiful color.  Here we work with oil sticks, graphite, and solvent, and wipe off with solvent soaked paper towels.  You can then draw a bit with oil pastel.  The rules of contrast come into play ie without a subdued part, the emphasized part will not be as brilliant.  

 Work with light and shadow.  Mystery in a painting is a powerful force.  I don't want to tell the whole story, a general mood will make me happy. I don't want to make anything that resembles a photograph.   For finishing techniques, you can scratch into your work for interesting effects.

We are very fortunate to have Jacques Clement here in Montreal, I invite you to visit Jacques Clement's most interesting website:    http://www.jacquesclement.com   If you e-mail him at info@jacquesclement.com, he will let you know when is the next live model Atelier.  I'm sure I will be there.

Inspired by Negative Space

I was fortunate to attend five separate workshops with Robert Burridge"Notable Wow" artist from California, which were held in Colchester, Vermont, the week of July 29 to August 02, 2008. Accommodations and workshops were sponsored by The Holbein Company and held at the Hampton Inn.

My absolute favorite was:  "Abstract Florals from Colorful Loose Splatters"..this certainly was not your ordinary vase of flowers placed on a table.  Here the technique of negative painting came into play after you splished and splashed with the paint.  What fun!  Still and all, you needed to design your bouquet according to good basic design principles.  Not a boring class to say the least.

Here are some thoughts and ideas from Robert Burridge:

Paint meaningful and believe in yourself.

Try communicating an idea in your painting and take risks.

Kiss of Death is when you worked the painting too hard.

Tip for finishing.  Stop painting at 90%.

A painting is never finished, it stops in interesting places.

I definitely was inspired by Burridge, but, as usual my style seems to emerge, which is a good thing.  I painted over the originals which were done in the workshop, but then painted again with my oils.

Wit and Whimsy

This posting is about my explorations and experimentations in Mixed Media collage. I felt the compulsion to create the layers,
I used the Zen approach "Heart versus Head" to create these mini collage paintings. They are created from the unconscious in a meditative way. 

Starting with a pile of different odds and ends ie ephemera from my collection, I set out to design a series of mini collages. In the collection of oddments are: fabric, paper, and textured paper of different weights, very odd sizes, nothing regular My initial aim was to assemble these small artworks in a pleasing way using all my design knowledge of positive and negative space. I then placed and glued them down and embellished. A word about my selection in this series.....

I somehow drifted to the Zen and Orient for inspiration. There are six small collages in the collection and are named aptly.

Nirvana - is defined as a state of bliss and described as the perfect peace with the world. The state of mind is that of free of anger and craving.

Nepenthe - is described as a magical potion that quells all sorrows with forgetfulness. In literature the effects of Nepenthe are similar to those of opiates.

Karma - Karma means "deed" or "act". If one does good or spiritually valuable acts, one deserves and can expect good luck

Mantra - or "chanting" can be defined as a repetitve sound or group of words. Some purposes of Mantra have included religious ceremonies to accumulate wealth, and avoid danger or eliminate enemies.

Geisha - is described as a female Japanese entertainer, whose skills include performing various Japanese Arts, such as music and dance.

Edo Lovers - centered in Tokyo during the period between 1680 and 1860. They are part of the "Ukiyo-e" genre of Japanese Art - "Ukiyo-e" means pictures of the floating world

A Passion for Painting in the Garden

A water lily painting “Le Bassin aux Nympheas” by Claude Monet recently sold for more than 80 million dollars at Christie’s Auction House in London.


Quotes by Claude Monet (1840 – 1926)


“Gardening was something I learned in my youth when I was unhappy, I perhaps owe having become a painter to flowers.”

“My garden is my most beautiful masterpiece.”

“ I can only draw what I see.”


“ Everything I have earned has gone into these gardens.”
“ Colour is my day-long obsession, joy and torment.”


“It took me time to understand my water lilies. I had planted them for the pleasure of it; I grew them without ever thinking of painting them”


“It's on the strength of observation and reflection that one finds a way. So we must dig and delve unceasingly.”
A good book to read on Claude Monet….
Claude Monet at the time of Giverny, published by Centre Culturel du Marais – Printed in France by Imprimerie Blanchard, 92350 Le Plessis-Robinson. I did buy this book in Giverny at the American Impressionist Museum on the rue du Claude Monet.

Imagine painting in the garden immersing yourself in the fragrance of the lilies, the blue of the delphiniums, and the sheer beauty of it all. This experience will surely inspire your artistic expression.


The roses and delphiniums are a challenge for me to paint – I will usually set up my easel in the late afternoon, when the shadows are long and the colour of deep blue mauve.


I am excited to start mixing the luminescent paint mixtures that Monet used. According to a letter written by Monet, his palette comprised of the following: lead white, cadmium yellow, vermilion, dark madder, cobalt blue and emerald green. To quote Mr. Monet, “The real point is knowing how to use colours.”


Gardens have always been a passion for me, especially while painting the model among the flowers in a white Victorian dress.


One of the most dramatic areas of my garden is the pond, with my Buddha sculpture reflecting in the pond along with the blanket roses in pink and red and the water lilies.
My intention is to paint the water lilies in my pond as soon as they bloom.

There are times I am wishing to be in my garden painting, but just not feeling up to gathering all the supplies needed to paint in oils. I had read somewhere on the internet about a “cigar box pochade” being used by painters.

If you go to Duane Keiser’s Blog, you can see exactly what I mean. It holds the squeezed out paint (limited palette), turps, etc. I started looking around my assemblage stash of cigar boxes – lo and behold – I have found exactly what is needed and will be outfitting my cigar box with a piece of glass to fit inside and experiencing this wonderful invention.

I think this might be the answer for me for painting in winter in my car.

Colours and Palettes

I received several requests asking for Milt Kobayashi's Japanese palette. Well, here it is.

Winsor Newton:

Raw Sienna, Jaune Brillant, Olive Green, Indigo.

Holbein:

Monochrome Tint Warm, Foundation Umber, Mars Orange, Coral Red.

Rembrandt:

English Red

Other colors:

Raw Umber, Yellow Ochre

As you can see, there are no Cadmiums, no White - Foundation Umber, which is a light beige, is used instead of white.

This workshop was held in April, 1997 for two weeks and we did work with this palette of colors.

What is interesting is that you mostly see Cadmiums on most artists' palettes, and for sure white. I have attended quite a few of Milt's workshops, and each time his palette was different. So that does tell you something. Work with your own individual set of colours and experiment and mix a lot.

Milt teaches every April/May at the Scottsdale Artist School, in Scottsdale, Arizona. Milt's workshops are with live models and every day he does a demo in the morning till approximately lunch time, and then we work. There are 2 to 3 costumed models each day.

The painting posted here is one that I did with the Japanese palette.

Memories

I wasn't planning to do a new posting today, but after seeing the comments which my last posting produced, I decided that I would like to share something about my former teaching studio, and my good friend
Carmi Cimicata.

After many wonderful years of hosting workshops, I had decided to close my Montreal teaching studio. The adventures and excitement of operating such a studio can hardly be conveyed. Those years were an especially satisfying part of my life, and I enjoyed sharing much of this with Carmi, and many others who came and participated in these workshops. People like Claudine Hellmuth, Gail Rieke, Sharilyn Miller,
Anne Bagby and many more too numerous to mention at this time, were some of the very talented artists who came to instruct and share their talent and skills.

Through the years, I came to know Carmi through the experiences of the workshops and her times spent in Montreal. We went junking together, even New York City several times, to visit international artist Patricia Nix at her fabulous home in the Murray Hill district. Another time we viewed an opening of Patricia Nix's assemblage exhibition in a beautiful old church in NYC. We dined (Asian-Fusion) food at an unforgettable restaurant by the name of Tao, decorated with a sixteen foot Buddah. We did have fun.

I watched as Carmi ascended the Art world with her own style of Artwork....watched her succeed creating on her website and blog. It made me very proud to know that somehow I had played a part in her development as an artist. I am proud of the countless art sessions and workshops we had worked at, creating an important presence on the Canadian and American art scenes - all while having a great time.

So, it was with great reluctance that I made the decision to retire from teaching and hosting workshops. I am dedicating this posting with a fondness and appreciation to all the teachers and students who graced my studio.

I still receive phone calls and e-mail from former students and artists who ask....what are you doing with all that time on your hands....well, here are the answers....I paint a lot in oils, mixed media, love shopping for junk, and creating assemblage as well. I have started traveling with my hubby, this summer we will do a Mediterranean cruise starting from Barcelona visiting, France, Italy, Greece and Turkey (Istanbul) and ending in Venice (my favourite Italian city)....that should prove very inspirational for me. I also do some gardening and play with my puppy Shirley ( who is the boss in my house).

I will be attending a workshop with Robert Burridge in Vermont, at the Hampton Inn Colchester, which will be hosted by the Holbein Paint Company. I will be looking over the surroundings to see if such an event will be feasible in Montreal. If so, hopefully we can persuade Carmi to instruct a very eclectic workshop for us.

The Alpha State

“Art, who comprehends her?
With whom can one consult concerning this great goddess?”
- Ludwig Van Beethoven –

This painting was done with a Japanese colour palette suggested by Milt Kobayashi, another of my great teachers. The title is "La Belle Epoche" and measures 24" x 18".

Sometimes while painting, I wish for someone to come and rescue me….a Muse, a Great Master, especially when it’s not going so great. What to do? Leave the painting for a few days turned to the wall. When you come back, it will be with “fresh eyes”.

Here is a very appropriate quote from J.Krishnamurti, philosophical and spiritual writer.: “you are the teacher and you are the pupil”.

When I am in my studio painting, I am alone with myself, listening to music, and it almost doesn’t matter what I am painting. It is the alpha state that I go into. What is the Alpha State? I did a search on the internet and found these answers:

The Alpha state is a state of being which:

Calms your body and mind while it maintains alertness.

Stimulates imagination, intuition and higher awareness

Creates detachment from the outcome and increases accuracy

Improves mental processes, concentration on clarity of thinking, decision making, memory

Frees up more of your potential, and helps you achieve the goals in your life

When I am in the studio painting, there are lots of people in there with me. My teachers, friends, the old masters, new masters, other artists who are my peers, and so on. If I am really painting in the Alpha state, and I am in a state of creativity, they all disappear for the moment, and come and go throughout my time of painting.

In order to get to the right frame of mind for painting and creativity, I try to clear my mind of clutter and try to relax so that my mind will be calm and receptive to the music and to whatever it is I am trying to say in my painting.

One of my great teachers and friend is Harley Brown, Pastellist par excellence. Here are some tips from Harley while painting.

Try and schedule your painting time with no disturbances
Take the phone off the hook
Have your art materials clean and orderly
Keep your brushes clean.
Squeeze out more paint than you think you will need
Make sure your lighting is state of the art.
Prepare all reference matter before you start to paint
Your studio is your oasis and sanctuary. Let everyone know it, including family members.

A good tip from me is:
If you can do it, before painting, try and go for a brisk walk, or turn on some disco or salsa music and dance by yourself .

The technique of Massing

I have decided to focus this post on my humble beginnings as a painter. David A. Leffel, notable international Artist was one of my first teachers. He taught this most valuable technique of "Massing".... and that you did not necessarily have to put down a careful drawing before you paint...a sketch is OK, but not an outline like in a child's colouring book. Massing your subject as a flat plane, rather than in terms of it's details. Massing gives a feeling of weight and also starts you thinking about composition and negative space. You are always working from the large shapes to the small. Form comes first, details later. If a painting fails, it is usually because the details have been focused to early on in the process. It is essential that the overall abstract design or composition and the colour relationships be worked out. It is good to spend a lot of time on the earlier stages of a painting and adjust as you go along.

This little painting, one of my first in the small format is 5" x 5", oil on canvas, and is titled "Wandering Bouquet".

David A. Leffel has two books published: "Oil Painting Secrets from a Master" and "An Artist Teaches, Reflections on the Art of Painting www.brightlightpublishing.com. Both are excellent books to keep in your studio, or on your night table.

Greetings from the world of Fine Art and welcome to my Art Blog. My journey in Art has become my passion. I believe in the beautiful and the aesthetic in Art. My obsession is to produce Art that uplifts and captures the elements of light and space in a way that moves the viewer's emotions.

At the heart of my work is my fascination with the figure which has been the case for several years. I also have had a lifelong interest in junk and assembling junk into interesting art. I love the female face and figure and it was only a matter of time before these two passions merged.

Every piece of artwork I have created pushes the envelope of what is possible to achieve.

This is one of my favourite models Erin - done in oils on canvas with neutral colours. When Erin is posing for me, she is able to transmit the expressiveness I look for. This painting is titled "An Artist's Model" and measures 36" x 18".