Horse Monotypes

Horses were always my favorite subject matter for as long as I can remember.  I’m sure this has something to do with my mother, who grew up near Hamburg, Germany, in the 40’s and 50’s and adored horses.

When I was a kid, she would bring home books of Remington and Degas for me to look at.  I aspired to be able to draw just like them.

As I got better and started to gain recognition and encouragement from teachers and friends, I studied books on horse anatomy to further my skill in drawing them.

As a teenager, I got so good at drawing them, I felt I’d drawn every possible pose a horse can pull off, and more – 100 times each!

When I ‘discovered’ Traced Monotype (see previous blog entry), I discovered the perfect technique to crossover my sketches of horses to more finished pieces.  They were the go between that wasn’t painting, yet also wasn’t mere notebook doodles.  I could draw the same way I’d draw in my sketchbook, but the ink transposed more elegance to my line.  The black velvet adds depth and feeling that graphite doesn’t have.  Many people mistake these Trace Monotypes for charcoal drawings, because of the similar look of the black line.

Charcoal drawings could not however, give the random marks that the inked plate makes, nor do I feel the line of the charcoal is as weighty as the inked line.

So, during my senior year at high school, just after returning from the workshop in Marburg, Germany, I spent the year making monotype after monotype, completely engrossed in the process and inspired by the results.  This was by far my most prolific year of art making I’d had up to that point.

I was rewarded with first prize in the Congressional Art Award, and several gold keys in the Scholastic Art Award, not to mention several scholarships for Syracuse University.

The best reward though, was the discovery of a medium that allows me to capture movement and emotion so gracefully.

Though I’m devoted to mastering the painting skills taught at the classical humanist atelier I attend (Studio Incamminati), trace monotype is a style I have always been more than fluent with and will continue to work in.

The Fencer Commission

I wanted to share with you the process I used – Trace Monotype – to carry out this commission of a sabre fencer.

When detail is not necessary, and I want to emphasize motion and emotion, I find Trace Monotype to be an ideal technique.  Gesture and the use of black and white seem to give the artwork more of a transparent feeling.  The viewer can enter the scene easily and memory seems more easily evoked than if I painted a full color oil painting.

I thought I came up with this process 20 years ago, when I was sixteen, attending a monotype workshop in Germany.  I’ve since found out that many artists including Gauguin and Degas found this technique quite satisfying.

I use this technique to solve problems that cannot be fully explored through paint and graphite.  I enjoy the fact that you are not 100% in control of the finished product. The spontaneity of the medium makes it ideal for capturing emotion – I cannot linger over a line.  Like Japanese ink painting, once the line is drawn, it is there.

I’ve sold many pre-made pieces where I’ve used this technique, however this was the first time I’ve utilized this technique for a commissioned artwork, and my client and I are very pleased with the results!
Now, I’ll talk about the steps involved in making this piece.

First, I did some sketches using Google Images as reference.  I found pleasing compositions of fencers and copied them, looking for dynamic poses

I spent two days gathering sketches from the Internet sources.  I also copied a composition from a Michelangelo painting, seeing if it would ‘translate’ as a fencer.

My client and I picked our top three poses.  I asked my roommate to photograph me from ‘worm’s eye view’, so I could get the perspective the client and I agreed would be most interesting.  As I stood on a chair, my roommate photographing me, I realized that unless I used a real fencer, my gesture would be way off.

So, I looked for a local fencing school, emailed and arranged a visit to sketch.

I came on a rainy weeknight, so there were only two fencers to sketch from.  I stayed for about an hour and got some more ideas.

When I got back to the studio and enlarged some of the notebook sketches, I realized that the gestures weren’t enough.  I needed the model to freeze in position in order to get a more accurate reading of the head, hand, and feet positions.  It was clear after watching the practice sessions that the placement of hands and feet mean a lot.

I went back to the fencing academy the following Sunday to see if I could find someone interested in posing for me.  I was introduced to Patrick, who happened to be one of the two fencers I had sketched that rainy day.

Patrick recognized me and agreed to pose the next day.  He put on the exact outfit a saber fencer would wear and posed, lunging as a saber fencer would.  I did some sketches and took photos lying on my belly, on the floor.

I was now ready to work on the final.  To get a feel for the gesture, I made a sketch of the final on a large piece of brown paper.  Then, I ‘pulled’ nine small monotypes to see how the sketch would translate to monotype.

A Trace Monotype is made by first laying out ink on the plexiglass, laying your paper on top, and then drawing your image.  The image can be pre-drawn with vine charcoal, or done from scratch.  The pen or pencil you draw with is in effect the ‘press.’

I did 10 small monotypes before I got one that I liked.  The reason I do these smaller versions is to practice the gesture before doing the large version.  I want to get a gesture down that I liked and then I copy it for the final version.  I also want to utilize the ink process rather than just sketch in a sketchbook because it can give me ideas for the final as well.

After getting one I liked with the tenth ‘pull,’ I traced the inked side.   This gave me the opposite of the drawing.  I have to draw him as a lefty in order to make him righty.  When drawing on your paper, you have to keep in mind that like a transfer drawing, your drawn image is going to come out ‘backwards.’  So, if you’re not careful, you can make a righty appear to be a lefty if you don’t draw him lefty to begin with.

I enlarged my sketch onto newsprint using vine charcoal, and drawing him as a lefty.  Then, I transferred it to the oriental paper I was using for the final.  I liked the first print, but it wasn’t ‘it,’ so I kept going.  I did four more.  The fifth one ended up being the last.   For this process, I keep pulling prints until one comes out that I like.  Each print that precedes the next it informs it.  Memory, accidents and spontaneity are all welcome in this process.

When I pulled my fourth print, I accidentally got a ghost image from the preceding print.  I really liked this accident, and decided to do it deliberately for the fifth pull.  Seeing the fifth pull as successful, I decided that would be the one.

The last part is the development process.   I let it dry for a day or two, and selectively work back into it, pulling out lights with a ‘whitish’ mixture of paint, and darkening areas with accents of pure black.

For this image, I decided not to go back into it with too much color.  Except for very small accents of turquoise, it is completely in gray scale.

The final piece is 21 x 36 inches, giving it the dynamically symmetrical dimensions of the root 3 rectangle.

Figure Study of Standing Nude

This is the first post on my new blog for work I complete at Studio Incamminati. This was my first painting upon returning to the atelier.  I took a week long form painting workshop with Darren Kingsley and Steven Early, and this was the final result of the workshop.

Day of Surgery

My visit with mom is nearing it’s end.  It will be a sad parting.  I am a bit frustrated because the biopsy was scheduled so late, and now I won’t be around to help out.

Sloan Kettering scheduled it for the 30th, and the pre-screening is on the 28th.  Mom plans to stay in the city from the night of the 27th to the 31st or 1st, depending on when they release her after surgery.

When she returns home in April, we will get a clearer picture of what sort of help she will need.

Keep us in your prayers

It’s About Time

Jan. 15, 2012

I can’t believe the year is almost over.  It’s been a long year, full of surprises, let downs, fun and stress.  A mixed bag of experiences that when weighed together has been a valuable year for me.

I have a good feeling that this year, when I turn 35, is going to a memorable year for me.  I have everything just where I want it in my life.  Financially, emotionally, spiritually and technically, I am ready to launch my career as a painter.  I am going to paint the kind of paintings I’ve always wanted to – big and bold.

Mar 12

Since I wrote that, a lot has happened.  My mother has been diagnosed with a brain tumor, and I am forced to confront my fear of her not being with me for the rest of my life, as I’d like her to.  Rationally, I know this is not possible, but emotionally, that is what I want anyway.

While living with mom for two years before coming to Korea, I was sure that the next series of paintings would be influenced by that experience.

While teaching at Poly school in 2011, I came up with the theme for my next series of pantings:  the Korean sauna.

After finishing my contract, March 29, 2012, I moved into my studio at Jankura Art Space in Itaewon, Seoul, the next day.  Four days later, I had started my first painting.

This is the start of the first painting.  I’ve worked on it for 3 days, about 9 hours.

There are many ages and body types in the sauna, and all are unique and beautiful to me.  Many of the women have bodies that bore children, and the elderly who have bore many burdens during wartime.  The paintings are about more than the sauna though.

As I worked on this first painting, I realized that this series is largely a tribute to women.  Women are amazing.  Women give life, nurture, and are strong and sensual by nature.  In the painting, I plan to also put myself as I have begun to see these qualities and validate them in myself for the first time.  Becoming a fully realized human being and woman is a process and I am grateful for all the women in my life who have acted as teachers and role models for me.  Most of all, I am grateful to my wonderful mother, who I love with all my heart and who gave me life and continues to enrich my life today.

Here is a little background on the sauna from Wikipedia.

In Korea, saunas are essentially public bathhouses. Various names are used to describe them, such as the smaller mogyoktang, outdoor oncheon, and the elaborate jjimjilbang. The word ‘sauna’ is used a lot for its ‘English appeal’, however it does not strictly refer to the original Scandinavian steam rooms that have become popular throughout the world. The konglish word sauna (사우나) usually refers to bathhouses with jacuzzis, hot tubs, showers, steam rooms, and related facilities

When you enter the sauna, you can find lots of naked women wandering around, applying lotions, drying their hair after bathing, and so on. The temperature is very warm.  You will see a counter where you can buy soaps, shampoo, clothes, undergarments, some foods and drink, and anything else you may need for washing or comfort.

The first thing you do is go to your locker, undress and put your clothes inside.  I can imagine most foreigners would be shy about being undressed in front of so many strangers, but I felt fine about it, I guess because I have experience drawing from nude figures and being a nude figure model myself. It felt quite natural to me.

(From KNU Times) When you look around the public bath, you can see many people sitting down on plastic seats and washing themselves, rather than standing at the showers. This is because they are “washing off the dirt” from their bodies. Most foreigners, especially people from western countries, just take a quick shower, but Korean people painstakingly wash off the dirt from their bodies with a rough towel called an ‘Italy towel.’ This towel did not in fact originate from Italy. It was named after Italy because its producer, the textile manufacturer in Busan, had imported fabrics from there. These different approaches to washing might seem strange, but there are various reasons for them. One is that westerners and Koreans (or eastern people) have different skin characteristics. Western people usually have more oily skin compared with Koreans, so the dirt can be easily washed from their body by just taking a shower. The soap bubbles easily remove oily elements from the skin. The skin of Koreans, however, is typically less oily, so Koreans usually soak their bodies in hot water and then rub off the dirt with the Italy towel.

The atmosphere is mesmerizing and tranquil.  When I enter into this ‘world,’ I feel immediately at ease.  There is no doubt that I attract attention and stand out as a foreigner, but I am accepted because I am a woman, just as the others, and can feel acceptance as I participate in this same ritual and take the same pleasure from it as the other women do.

In the sauna, I feel I get a glimpse of Korean women when they are unguarded.  Through my depictions of these bathers, I aim to capture the beauty in what has become a ritual for many Koreans that perhaps only an outsider can view objectively.  Without a grasp of the language, I have the special ability to see as only an outsider can, without prejudices or pre-judgments.

I don’t mean to act as a voyeur, just an observer of what is beautiful.  I see compassion, love, caring, and peacefulness in the expressions and body movements of the women there.

My process for doing these paintings will be different than I’ve worked before.  I am not going to use models.  I am just going to use sketches I do at the sauna.

This, in itself, is an interesting endeavor.  For a while, I wondered how I could manage to sketch unnoticed.  I certainly did not want to annoy the women there.  For the first attempt, I took the smallest notepad I had in there with me.  I hid it in the bowl, amongst my washing things.  When I got in a tub, I took it out and pretended to be writing.  The women would glance at me, but then lose interest.  So, I think they decided that I was just writing.  Since they are used to foreigners there, I could do my thing without them staring at me.  They are there to scrub and are not in an ‘aware’ state.  The heat acts as a sort of mind eraser.  No one would really want to engage me anyway, so me with a pad of paper didn’t attract much more attention than I would normally with my blond hair

.

However, I wanted to make bigger sketches.  So, I decided I need to invite a Korean woman to come with me to act as a decoy.  Fortunately there was a girl who was willing to do this.  She is an art student and so understood my idea perfectly.  We met on Sunday, February 19, and I got some great sketches.  One of these sketches is now the reference for this painting.  I will make more with her when I get back from NY.  She said that now she does not look at the sauna the same way anymore.  This is what I was hoping would happen :)


Wed, March 14

The latest news this morning is that the surgeon, neuro-oncologist, mom’s former oncologist, and other doctors at Sloan Kettering, NYC, are discussing and debating what course of action to take for treating this mass in mom’s brain.

The reason for this debate is that the surgeon has expressed reservations about doing a biopsy because of the risk of neurological damage.

Whereas the neuro-oncologist would like the biopsy done in order to be certain if it is a metastatic tumor, primary tumor or (very unlikely) an infection.  This way, he can be sure of the exact radiation/chemo treatment to prescribe.

They are having a ‘tumor board meeting’ on Monday to add to the  roundtable discussion they are already having about it.  It seems as if mom’s tumor has created a scientifically interesting conundrum for the doctors.

So, Suzanne, mom and I are using the extra time to enjoy each others company and take care of little details around the house and organization of paperworks and things like that.

It feels really good to be here and to see Suzanne and mom and be together :)

Feel free to call the house if you’d like to talk to any one of us!

631-368-1389

Pre-biopsy

Hello all,

Thank you for your prayers for my mom.  She is home today and so grateful for all your concern.

Tomorrow she will head to the city to Sloan Kettering for a consultation.  The doctors at Stonybrook said this:

the consensus between the specialists that met yesterday is as follows roughly: 50% chance it’s primary, 40% chance it’s metastatic, 10% it’s just an infection that could be drained during biopsy. 2-3% chance of hemorrhage during procedure and 2-3% chance they are unable to get viable results from biopsy.

Goodbye Stonybrook

Hello All,

The latest news from the doctors:

Neuro surgeon, Dr. Rosiello,  thinks it’s a metastatic tumor which is better than a Primary tumor, but it may not be a tumor at all but an infection.  The biopsy will be done at Sloan Kettering next week.  For the biopsy they will drill a hole in her skull to allow the needle to pass.

Carol Maurer, the social worker, reported this (interesting that she has the same last name as mom):

Carol also said that within 24-36 hours of mom’s discharge, a physical therapy assistant will come to Mom’s house, check her vitals, make sure that her meds are working, and start a visitation routine. They will teach her how to correct herself if she loses balance, things like that. She said that the only things that would be taken care of are the professional services like medical care, physical therapy, and if she needed personal care assistance (like help with dressing and showering). Meals and house cleaning would not be part of these available services. Carol will contact Visiting Nurse Services located in Northport and set all this up for us.
By the way, here is Carol Maurer’s phone number if you need to get in touch: (631) 444-1318. This is the Main Desk for Social Work: (631) 444-2552

Rosiello’s # is 631-444-8105.

So, Mom is leaving Stonybrook Wednesday, March 7.  Either Mark or Pan will pick her up (not the mythological creature).

Mark’s phone number: 516-480-1063

Pan’s phone number: 631-255-9739

Karina may host mom for a night until Suzanne comes on Thursday morning.   Or Janice Becker may check in on her.  Thanks Karina and Janice <3 !

We are relieved to not have to deal with Stonybrook’s mismanagement any more. If anyone has any stories they want to share about this hospital or Dr. Rosiello, please let us know.

Sunday, March 4

The latest news:

From what Dr. Gil told us on Saturday, Dr. Kowalska will have a meeting with the neurosurgeon on Tuesday as Mark said.  The way Dr. Gil explained it, we might not hear about their conclusion on whether or not to do a biopsy until Wednesday.  If they decide to do a biopsy then Dr. Gil said this could happen as early as Thursday.

Suzanne will arrive in NY on Wed, March 7.  She will stay with mom until March 17.

I am planning to fly out sometime between March 15 and April 14.

If anyone has any information about live in caretakers, please let us know.  Mom may not be able to live on her own because of the risks.

Mom at Stonybrook

Hello Everyone,

Thank you for keeping mom in your thoughts and prayers.

After some more testing, the doctors found she has atrial fibrillation.  This will increase the chances of forming blood clots leading to a higher risk of stroke among other things.  The medication they would normally give to her for this can’t be given as it will negatively affect the tumor.  They are still doing more tests on her and trying to figure what other medical problems might be there.

She hasn’t seen a neural oncologist yet, though she was recommended to see one a.s.a.p. on Monday.  Mark is going to handle this situation as our frustration level mounts.

You can visit or call mom at Stonybrook Hospital.  Her information:
Floor 13, Room 52

phone number in room: 631-216-9708

her cell phone number: 631-579-2372

Her nurse’s name is “Kelly”