Professional Development Programs and Workshops

Workshop: Painting Beyond Technique:

Registration Opens Soon: Please check the web page at the Center for the Arts, Crested Butte.

Mon, Tue, Wed, Thru &Friday, September 17,18,19,20,21 Painting Beyond Technique

Are you an artist looking to develop your skills, looking to bring your work to the next level, beyond technique, beyond image making into the realm of expressive concepts and ideas? This workshop will consider how to use powerful visual images to provoke thoughts, arouse feelings and stimulate the intellect. 10:00 a.m. – 3:00 p.m. $240.

Painting Beyond Technique: Monday, Tuesday, Wednesday, Thursday & Friday, September 17, 18, 19, 20, 21, 10:00 a.m. – 3:00 p.m.

   Painting Beyond Technique is a workshop designed for artists with an established artistic practice. The workshop will encourage participating artist to investigate her or his own vision of the world while developing skills with purposeful inquiry and creative expression and the development of compositions that go beyond technique, beyond image making into the realm of expressive concepts, ideas, philosophies or any number of content-texts derived from the individual artists own experiences? This workshop will help artists develop their compositions using powerful visual images to provoke thoughts, arouse feelings and stimulate the intellect.

Because this is not a technique course the artist participants will select their preferred media of expression. With that stipulation one of the more important aspects of this workshop will be the manipulation of color and color concepts, therefore, it is important for the participants to be working with some form of media that posses a color capability.

Through a variety of directed application assignments, group discussions, and critiques the workshop will differentiate between the use of presentational and representational images in the presentation of dynamic compositions.

The workshop will demonstrate how to use non-local color, a color used for the purposes of the composition rather than colors that simply mimic those that already exist when using preexisting references. Non-local color will be united with local values, areas of light and dark that is consistent with a directional light source, in establishing powerful visual images and forceful compositions.

Employing non-local color with local values the workshop will investigate the use of actual and compositional space differentiation the attraction of images depending upon their placement in the compositional space. Actual space is the specific measured areas of the composition, the height, and width of the composition, compositional space is the related and interrelated areas of the composition occupied by the dynamic images. The application assignments will show how an image isolated has more visual attraction when juxtaposed against images grouped together in the same composition. The application assignment will also illustrate the added attraction of dynamic images placed on or near an implied or actual edge in the compositional frame.

There will be a 5 participant minimum required to hold the workshop and a 10 participant maximum.

Don Eugene Seastrum is a painter and lithographer with fourth four years of professional and teaching experience in the visual arts in both the United States and Italy. Don, who is Emeritus Professor of Art, holds a Ph.D. in Fine Art from the Union Institute, a Masters degree from the University of Denver and a Bachelors Degree from Western State College (now Western State Colorado University). Don exhibits on a national and international level including a one-person exhibition of hand-pulled stone lithographs and watercolors at Santa Reparata International School of Art, Florence,Italy, Drawing Connections: International drawing exhibition at the Siena Art Institute, Siena, Italy, Art Festivale Cerreto Laziale: Prima Edizione: Museo D’Arte Moderna E Contemporanea: Cerrto Laziale, Italy. Don was the only artist from the United States represented at the opening of this new museum of modern and contemporary art just outside of Rome. Don was also an artist represented at the international juried exhibition, Human Rights?: Diversity, sponsored by the Fondazione Opera Campans dei Caduti-Rovereto-Trento, in partnership with the Italian Commission for UNESCO, Provincia Autonoms dei Trento, Comund di Rovereto.

As a studio based painter for the past five decades, Don’s work has been a continuing investigation into the essence and nature of constructed images as individual entities that are neither reliant nor dependent upon a one to one reproduction of the subject matter referred to in the work of art, Presentational rather than Representational.

During this period of inquiry he has come to understand that these presentations are not descriptions of the thing that has happened, a copy, but rather a depiction of a kind of thing that might happen, an interpretation, never intending that the interpretation should be seen as something other than a drawing, a print or a painting.

Presented in this context, the work Don does is both informed and inspired by his studies into the development of a particularized visual vocabulary.  Although precisely articulated his works are rendered with no intent at a naturalistic description. Since copying is not the desired end, it is the process of choosing specific images, colors, values, and patterns of organization for the individual composition that becomes Don’s principal creative concern. To identify this principle of choice within his work, flattened plains and subjective color are used with objective values to underscore the distinction between the models, and the interpreted images referring to those models, stressing the fact that they are painted forms, pigment on canvas, drawn, graphite on paper, or lithographic crayons on stones hand pulled in limited additions.  Adding to the distinction between the referenced subject as models and the interpreted images within the work, Don employs an original design technique fusing the distortion of forced Renaissance perspective into regions of broken picture planes. The interpreted images are placed on these enigmatic planes, resulting in a somewhat unsettling, sublime, yet compelling depiction of potential realities.

The results of this procedure are compositions expressed in terms of the essential nature of descriptive works of fine art, classically modern and presentational, unifying form to content.

 



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