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dc.contributor.authorWeybright, Jessica
dc.date.accessioned2012-12-21T20:33:46Z
dc.date.available2012-12-21T20:33:46Z
dc.date.issued1997
dc.identifier.urihttp://hdl.handle.net/10920/28159
dc.description6 p., slidesen_US
dc.description.abstractSo my paintings weren't going to be very abstract. They still were ending up looking pretty far-fetched, more fantasy-like than natural. I was experimenting a lot, especially with glazes and impasto. I would layer a heavy glaze on the canvas and then wipe it off, producing a smooth surface with a hint of the glaze color over that of the layer of paint underneath. I learned this technique in painting class, and I carried it pretty far in this project. Several canvases have four of five layers of glaze over an already thick layer of paint. This technique produced a lot of pretty eerie areas on the paintings~ there are strange mixtures of identifiable areas of thick paint and areas of mysterious glazes. The glazes were made with a mixture of linseed oil, liquin, and oil paint. I also worked a little with the palate knife to produce thick layers of impasto. Because I was working with landscape paintings, I think my job got a little tougher. Since they were pretty identifiable as landscapes, they were pretty susceptible to criticisms as far as design goes. My brother (also an art student) kept harassing mt: because they didn't have a coherent fore, middle, and background. I wanted to keep them pretty open; the idea of the expanse of space in the desert was a very important one to me, and one that I wanted to keep as a main force in my work. The glazes allowed for this idea of sort of a limitless space, but when I started to put identifiable shapes in. this space began to disappear. This struggle between keeping my paintings free and open and about space and keeping them making sense was a big one. My desire to work with the idea of boundless space was tempered with this nagging feeling that the paintings were becoming too abstract. They would reach a certain point where they had become so abstract that they were just too confusing. I couldn't make any sense of them and I couldn't understand what was going on with my experiments in technique. Its almost as though painting abstractly was just too much, I needed some context in which to place my work so I could fully understand what was going on, both with my techniques and with the work that I was actually producing.en_US
dc.format.mimetypeapplication/pdf
dc.language.isoen_USen_US
dc.relation.ispartofKalamazoo College Art Senior Individualized Projects Collection
dc.relation.ispartofseriesSenior Individualized Projects. Art.;
dc.rightsU.S. copyright laws protect this material. Commercial use or distribution of this material is not permitted without prior written permission of the copyright holder. All rights reserved.
dc.title'scapesen_US
dc.typeThesisen_US
KCollege.Access.ContactIf you are not a current Kalamazoo College student, faculty, or staff member, email dspace@kzoo.edu to request access to this thesis.


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  • Art and Art History Senior Individualized Projects [374]
    This collection includes Senior Individualized Projects (SIP's) completed in the Art and Art History Department. Abstracts are generally available to the public, but PDF files are available only to current Kalamazoo College students, faculty, and staff.

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