The beginning of any workshop is always awkward. And sitting in a space with 100 other artists and 5 art masters was even more difficult than other workshops I've attended. I began the first day with no direction, so I pulled out a photo of Italy and painted a very uninspired scene of Vernazza from the water.
When Skip Lawrence came by, he agreed with me that this was a boring painting, so I tried his suggestion of placing a warm mosaic pattern over the entire surface. Do you see the clock tower and people on the beach?
By Day 2 I'd met with Alex Powers for my one on one critique where he looked at 10 slides of my artwork. He felt that patterns were a strength he could see throughout my work. So I began working on pattern paintings. Although I'd painted these umbrellas before, in this picture, they are flatter and more symbolic. The trees are flat also. The plaza recieved kudos from Katherine Chang Lui.
The next paintings were attempts to incorporate painting people with patterns.
This next one is probably the best of the work I did in Taos. Katherine suggested having just a one word message in mind as I painted. The word might be "friendship" for this one. Fran Larsen suggested darkening the woman on the right which made this painting much more effective.
Then more patterns for my Italian friend with his wine. Do you see a one word message?
At Skip's suggestion, I painted the fellow again without any face, but lots of pattern.
So there it is in a nutshell. So much happened during the ten days in Taos, but this is most of the painting I did there and definitely illustrate the direction I was encouraged to follow.
I'd love to get your feedback.