In posting this painting, I fear becoming known as “That Tim Walker-crazed painter”. Not only that, but Tim Walker – or his agent, anyway – may not be all that keen in my depictions of his inspired settings and/or concepts behind his photo shoots. Be what may: I joined two of his photos together here. While his bride appeared in a 2016 issue of “British Vogue”, the model in black originated in a 2009 issue of “Italia Vogue”. And I could not resist the contrast!
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…
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.
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’m so cold!” Even though Winter had transitioned finally to Spring, those three words had incessantly repeated in my mind. Half of my apartment is below ground – with little to insulate me from the rock it is built upon. My hands remained rigid, posing a problem in carrying out detailed paintings. So, the cold became a muse of sorts. Colored pencils occupied me until a new heater arrived. And my sanity, somewhat restored!
No one will identify über-model Karlie Kloss in this color pencil sketch – but then the same could be said in Tim Walker’s photograph of her, taken for a British Vogue fashion editorial back in 2010. That’s alright, as that wasn’t my aim.
And when I returned to using my own hand in my art, I hadn’t intended to focus a whole lot on mastering figure drawing. [Nor did I intend to use color pencils all that much!] Yet between this extraordinary pose and vibrant greens, I just couldn’t resist the challenge.
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.
It was in February 2016 when I first announced – online, here – that I was devoting myself to the traditional mediums with my art. Although, originally the idea had been to pursue combining paintings with digital imagery. [See: Brushwork] Which didn’t actually pan out, exactly.
Anyway, rather than include this piece in the Diaphanous collection, I feel it speaks more of the Arch series due to the mirroring, et al. Painted with watered Gelatos, it measures 9 ¾” x 6”. Is this dawn and dusk at an intersection?
In this painting, I have photographer Jorge Badura to thank. Harper’s Bazaar, in their November 2016 issue, called in Badura to photograph an editorial that had featured a group of fantastic, skyscraper scaling, aerialists who took to the skies while dressed in haut coutures.
Hence the title: Diaphanous Scaling [“Gelato” painting, 14″ x 10″]
Since its inception, I never intended to use Projects Series as a political platform. While, yes, there may be one or two posts that suggest my views concerning social causes – however subtle in tone. But now is the time to step out of my comfort zone. The U.S. has one Mother of a cause and It is vile.
In all honesty, this illustration wasn’t meant to depict a Pussy hat. Rather, it took on a life of its own in the process. A divine intervention? Yes: Hardcore intervention is needed ASAP. Let’s go kick some butt. Seriously.
I didn’t know who a Tod A. was until a couple of months ago. Nor had I been acquainted with his band Firewater… [I’m usually late for the proverbial party.] However he doesn’t know me either. Furthermore, he doesn’t know that the Firewater album “Ponzi Scheme” – released by Universal in 1998 – has been fueling me at conspicuous frequency lately.
Tod A. is an expat and has been since the George W. Bush years. Given the present American landscape, need I say more? Maybe a 5.5” x 8.5” in strictly No. 2 pencil doesn’t do him justice. I gave it my best anarchist try…