First, an apology to adorable model Hyunji Shin. When working from Terry Tsiolis’ photo [in an editorial from the July 2018 issue of Elle] my foremost intent was to depict this incredible outline of the Marc Jacobs gown; I hardly did justice in Hyunji’s face! Yet, painting wet on wet is still rather foreign to me. One has to relinquish a lot of control – and those who know me will understand…
Hyunji in Marc
There are fashion magazine clippings which I have kept in a binder over the years… [And I do try to keep impulsive clipping at a reasonable binder management level. To “try”, being relative.] My most recent muse came by way of W Magazine and, more to the point, photographer Willy Vanderperre. His photograph offered me two elements I could not resist: lovely hand gesturing and challenging shadows. And I title this as Shear over Sheer because most challenging for me was in knowing when and what to omit.
Shear Blue Gloves
From a Rossettiesque photo by Peter Lindbergh, a Galliano gown is featured. I liked the near weariness in the model’s pose. And while the original photo [featured in Vogue, I believe] had her set against dark greens and what looked like ivy growing from the ground, I chose to add a bed of Iris instead. As my own Iris is now in bloom, will I follow them?
There is an adorable model who is not entirely depicted in this piece. And when I searched on photographer Marc de Groot’s online portfolio to look for her name, it couldn’t be found… But it was her hands that I loved most. Me, being me, I took some liberties with both her hair and the corset she wore. Maybe I should be calling her “Little Peacock”?
*Also, a thanks to the inspired work of Mr Barry Blitt!
I suppose it was inevitable. The time of arrival – when I would no longer have a mutually exclusive relationship with my own works. While I enjoy the kindness and support of my web base, hand rendered art really needs to be exposed to natural light. All of this to say, my own is now up at the Green Marble Coffee House for the entire month. And I would love for you to have a look!
September Show at Green Marble
Right before posting I have a great temptation to change the title of this painting to “The Three Muses” – or, “The Three Graces”. Truthfully? I haven’t got the whole “Gods and Goddesses” background to pull it off. Not to mention that the costume designs were inspired by an era when The Flapper was all the rage…
This gouache painting measures approximately 10.5” x 8.5”.
In this aerialist depiction, the question of “More? Or, less?” made me buggers. This piece, measuring 8.5″ x 9.5″, was painted with watered Gelatos – on some pretty pricey paper. While rather happy with it, my greater penchant to move on to “the next” ultimately won.
Aerialist with Rings
It was last summer when I became acquainted with the women behind Om-Fly Circus. They are a remarkable group – watching them at work on a swing or with silks has been such a revelation for me. Not to mention inspiring…
“Om Aerialists” measures 8″ x 10″ and was painted with a Gelatos and water mix.
The gown. That hair! Solange, that is. And with such an already musical name like that, why call this anything else? The source of it all can be seen on Elle.
I used some metallic watercolors for this 9″ x 12″ painting – a size which exceeds my scanning bed. The glint of the metallic gets lost on a monitor but I’m happy enough with the outcome here.
Over the 2016 holidays, my sister Nell and I thought that we should collect some of our mother’s wonderful poetry and publish an illustrated book – and then surprise Mom with this for Christmas. Nell and I didn’t have a great deal of time to pull this off – and online publishing was uncharted territory. But, we did it! Some needed revisions followed… However, we now honor our mother, Ann Goldthwaite Moore, with her first book of poetry. And this book is now officially available to the public for purchase.
Find “Brought to Light” Here
I went crazy for some coiled hair. The coiled hair and the model’s silhouettes. Both, I found in Chanel’s Spring 2017 campaign. [I found out later that the model’s name appears to be Arizona Muse and she was photographed by Karl Lagerfeld.] As for calling this piece “Tarmac”, all I can say on that is that it felt like the right fit.
Primary colors – such as the red and blue, dominating here – typically hold no allure for me. But when I paired the red and blue I felt such a bolt of power projecting from it. Striking. So where the “topography” elements nearly intersect, it became rather corrosive. Gold nuggets acting as meteorites…