Color Contrast

Artist Lecture: Professor Biederman at Phantasmagoria

This art lecture was associated with the Phantasmagoria showing at the Fisher gallery and was given by neuroscience Professor Irving Biederman. The lecture revolved around how art and visual stimuli give us “perceptual and cognitive pleasure” and it was very interesting. As someone who is both somewhat of a science geek and art-lover I was very happy to see the two collide so effectively. Biederman’s studies were examining what holds our attention on a level of pure interest--that is, not driven by hunger, sex or shelter. He was trying to address what holds our attention the longest. The answer was essentially the unknown. Abstract images and those that are not necessarily life-like photographs or replicas tend to hold our attention as our brain frantically tries to make sense of it and fit it into a familiar category. Some level of mystery can be achieved purely be taking things out of proportion-a- macro photograph of a zipper may not at first be entirely clear, but eventually our brains are likely to recognize it. Once we understand what the image is, and where we have seen it before, the brain’s interest is mostly satisfied, leaving the eyes free to roam. The purely abstract items, or even realistic images that are simply of something new to us hold even more interest, because our brains must do their best to store them for future use. If we are not familiar with them, then we do not yet understand them and they will thus hold our attention longer--this is why the vague shadowy pieces of Phantasmagoria hold such a threat in our minds; we cannot be sure what they are or what danger may lurk. The most important thing I learned from the lecture surprised me; it was that abstract art is a good thing--it peaks the brain’s interest. The more original and new a piece is to a person, the more likely they are to invest more time and energy into it. 

Artist Lecture: Deirdre Lamb

The lecture I attended was in a small studio in downtown Los Angeles. The artist was a woman named Deirdre Lamb who has been a photographer for over twenty-five years. She started talking off about her start in this industry. Her father was a photographer and seeing him take photos and print inspired her to also pursue the art. She worked her way through Brooks Institute of Photography in Santa Barbara, CA. and moved to Los Angeles after graduating. She looked at the Lookbook, a book of all the Los Angeles photographers and their work and picked out ten photographers whose work she admired and went to them seeking a job. Her first choice, a celebrity photographer named Charles Bush, hired her as an unpaid office assistant where she did small jobs but mainly kept the studio clean and in order. Her hard work and responsibility moved him to hire her doing paid work. She worked for him but eventually opened her own studio on Melrose doing advertising (which she majored in) and celebrity photography. I thought it was especially exciting to hear her talk about the industry and the many people she’d photographed during her time in LA such as Janice Dickenson (who she said was even crazier back then) and Pierce Brosnan (who she said had eyes even bluer than the looked in the movies). In addition, she had some interesting stories about Los Angeles and Hollywood and the way it was in the 80’s. When her first daughter was born, she decided to move up to northern California to raise her away from the city and the smog. Naturally, outside of the city, the demand for advertising and celebrity photography was little to none and she had to adapt to the new environment, taking up wedding photography and portraiture. I thought it was interesting to hear about the limitations of a certain field by the place you live and it made me think of my major and having a desire for versatility no matter my location. In addition, she is one of the few photographers that prefers and specializes in black and white photography and she talked about the importance of this tradition as hand-printed b&w photography lasts hundreds of years (as long as the paper lasts) while digital can fade in the month after just a few years. Also, because the evolution of digital technology, many digital images will be lost when we graduate to the next form beyond cd disk or whatever we choose to store our photos on. I loved the full range of contrast and depth the traditional printing created in her photos and she seemed to have a gift for capturing people in a truly beautiful, no matter their appearance or even age. She had one show that she had some photos from that consisted of portraits of young children, ages 2-8. The depth and maturity that the children seemed to possess was truly amazing and awe-inspiring, if their ages had not been listed on the titles I would have had no idea her subjects were so young. 

MOCA Painting: Rothko

Walking through the MOCA on our field trip, I came across a Mark Rothko painting entitled Black on Dark Sienna on Purple. I’ve always been a fan of Rothko’s work but have never seen any of his work in person so my attention was immediately caught and held when I saw this piece. I studied this for a long period of time, drawn into the sheer vastness. The painting had a large block of black on the top, below that, a block of what he would call purple but seemed much deeper and closer to red. All of this is set on the background of a Dark Sienna brown that ties them all together. Mounted between many other large-scaled Rothko, being in the gallery room alone was imposing but going up to each painting, one is immediately drawn into the colors. As described above, Black on Dark Sienna on Purple is one of his abstract expressionist paintings consisting of very dark colors and one would think this would create a sense of gloom or, with the red, menace but I didn’t feel that at all. Despite the darkness, or maybe because of it, approaching the painting I felt surrounded by the colors, which, up close, still maintained their deep hues. The abstract blocks of color create a strong impression of expression and, despite feelings associated with those colors, rather stirred up emotion of longing and a sense of being lost. I found it amazing that an abstract painting could subconsciously stir up unfounded emotion within the viewer, though I’ve heard his abstract expressionist pieces did this. Moving from piece to piece, a new emotion was conveyed and as a whole, the gallery felt like a cathedral of stained-glass color, inspiring awe and amazement. 

Type as value assignment

Color Wheel

Dan Graham Art Work

The piece I chose to write about from the MOCA field trip was Dan Graham's media piece titled "Yesterday/Today". In this piece of art, a video monitor in a public space displays a present-time view of the visual activities of the cafe located outside the museum. The cafe is a space that has different people entering it daily, but the motions acted within the cafe are generally quite similar. The daily activities follow a defined routine related to a specific time of day. For example, there is generally always a breakfast rush, a mid-morning coffee rush and a lunch rush, with quiet periods in between. The video being displayed on screen is accompanied by an audio playback of sounds recorded for the same room the day before but at exactly the same time of day. I watched the video for about 15 minutes. What I found really interesting was the fact that there were moments when the sounds that I heard matched the actions present onscreen even though the sounds took place a day before. This piece of art depicts the mundane activities of a human's everyday life, and how the actions in a certain space are actually very limited in variation from day to day.

Lecture

I attended the Captains of the Fashion Industry lecture on Gurus of Denim.  Adriano Goldschmeid and Jerome Dahan shared their stories of how they became integrated into the denim world, their knowledge of production and their overall vision.  Goldschmeid began by admitting that he initially disliked the fashion industry and the fact that one pays so much for overpriced clothing.  He began his first business in a little store in Italy that he was persuaded to purchase by his friend.  Here, he said, he learned more in the first 30 days than he would learn in the next 30 years.  One of his greatest discoveries was learning that a mediocre product could be sold if it was presented in a great way.  From here, he moved into retail, starting his own companies.  He stressed to the audience the importance of learning from your mistakes and putting passion into everything you do.  Dahan, on the other hand, had a very different experience.  He started his career with Guess but wanted something more global.  He accepted a proposal from Lucky Brand, who offered him a percentage of the company.  Dahan explained that with every company he worked with, he would stay long enough to pick up what it is he could learn from them, and then move on.  The fit, he said, is the most important aspect of a jean; everything else comes second.  An important discovery he made was that he could not do everything by himself.  In order to produce a great product, it was necessary to trust others in the process.  His perpetual need to evolve kept him busy, jumping from company to company.  He seeks a personal sense of accomplishment, not monetary success.  Never satisfied with just making money, he always looks to taking his companies and the denim world to the next level.

Artist Lecture: Captains of the Fashion Industry

For the lecture assignment I chose to attend the “Captains of the Fashion Industry” lecture on Monday the 27th. The topic of the Fashion Industry series was “Gurus of Denim”. After reading the fliers and seeing that there would be many designers from various brands of jeans, I came into the lecture expecting to see at least 5 or 6 people. But as the lecture began, the host of the lecture, Mark Werts, I only saw three microphones set up. And then I realized that there were only going to be two actual guest speakers, Jerome Dahan and Adriano Goldschmied. Adriano (AG jeans) spoke first and talked about how he wanted to bring jeans into a new realm of society’s perception. When he first began to make designer jeans, blue jeans were the utilitarians’ clothing of choice. Jeans were cheap work clothes and not a luxury item. He even admitted that he himself did not like the fashion industry at first because why would people spend money for nothing? Adriano actually got involved in the fashion business by accident. Although I don’t have any notes about exactly how he got started, I do recall what were some of his codes to live by. He repeatedly said to have passion for what you do, love what you do, and work hard. He said that you have to find different things and have new ways and ideas that other people don’t. The next speaker, Jerome Dahan, (7 for all Mankind, Lucky, Citizens of Humanity) spoke quite a lot about his journey in the fashion business. He started at Guess jeans for 2 years but wanted something more global. The designer jeans in the U.S. at the time were only Levi Strauss and Wrangler. Then he was offered a percentage of the Lucky Brand Company and begin to design for them. He needed to be involved in every aspect of the company and trusting people is important. But eventually he had to leave Lucky because of his ideas for a new brand that would have a different audience and customer group. Thus, 7 for all Mankind was born. It quickly became very popular but soon did not trust some of the people in the company and moved on to start Citizens of Humanity. Both speakers stressed the importance of loving what you do and having a passion for it. I really enjoyed listening to their stories and advice. It was a great lecture that provided insight and more understanding of the fashion industry.

Essay on artwork

As I walked around MOCA, I suddenly saw a piece of art that caused me to jump back with shock. Linda Benglis’ work, For Bob, slightly resembles a piece of coral with its red, red-orange, and yellowish white tints and shades. It is long and narrow and is made from wax on wood and masonite. At first, I was slightly repulsed by the work because looked creepy because it reminded me of vertebrae or something eerie and bloody. The sides looked as if the wax was still dripping down to the side of the work and looked like dripping blood from the reddish shades.

These were my first impressions of the work, which were a bit of disgust. However, upon further inspection my discomfort became interest, I wanted to inspect how Benglis made her work. The wax does not look like it was cut but instead dripped and almost piled on in some way. There are so many small parts that make up the entire work, that it looks time consuming and impressive. Every piece of wax looks like it is growing out from the base like a mushroom while the sides are dripping, suggesting a sense of movement in the entire piece. Also, the entire time my eyes moved up and down and back again.

This piece inspires a lot of curiosity. She uses wax as her means of expression, which I personally thought was very different and new. It made me excited to see that she could use a material so creatively but I also wondered if there was any subject. The title seems to suggest that the work is for a person, but there is no explanation why this fits as a personal gift. Looking at this work makes me actually extremely excited because when I examined it multiple times, I noticed the details that went into making it. I first noticed the interesting material used, then the different shades, then the construction. Linda Benglis successfully capture’s a viewer’s attention by making them wonder how and why she made this work.

Andy Warhol "Test Screens" at deYoung Museum

Earlier in the semester, during a trip to San Francisco, I visited the WARHOL LIVE exhibition at the deYoung Museum in Golden Gate Park. Taking over the lower level of the museum, the exhibition explored Andy Warhol’s art career through the “lens of music.“ This included album covers designed by Andy, music magazine cover art and a wide range of photographs and films featuring members of bands that he worked with such as The Rolling Stones, the Doors and, of course, the Velvet Underground. The most interesting piece of his—well, pieces—displayed was that of his infamous test screens. When anyone of interest came through Warhol’s Factory in New York, he would make them sit in front of a camera for that he called a “test screen.” The subject was told to sit still, not blink and stare directly into the camera while his stationary 16mm Bolex camera filmed on on silent, black and white, 100-foot rolls of film at 24 frames per second. The deYoung museum had four of the test screens running simultaneously on four TVs that were lined up on a shelf in their own room. Filmed between 1964 and 1966, the screens featured were that of Lou Reed, Edie Sedgwick, Nico and Bob Dylan. Seeing these four provocative and influential people’s stark portraits running in slow-motion (at only 16 frames per second) forces the viewer to confront these people not at Andy’s film stars or music prodigies, but as real people with skin imperfections, gnarly smoking habits and nervous ticks. Running at just under 4 minutes long, they are obviously private moments, living portraits that complement the photographic ones Andy began shooting with a Polaroid camera in 1963. Because of seemingly endless blank stares, they were a little awkward for me to watch, but the rawness of depicting these famous people in a “test screen” Hollywood-audition-like setting helped me shed some walls between myself, the art on the surrounding walls and the people involved in its production. Of the surviving test screens, many of the subjects are random passerby with “potential,” but to see these four test screens displayed as they related to the exhibit’s theme put them in a different context and had me analyzing their meanings differently than was probably intended.

Asssignments | Myra Yepez

Essay on Artwork | Myra Yepez

Cy Twombly’s 1961 painting, Untitled (Rome) is composed of marks made by oil paint, wax crayon and lead pencil. At first glance, the tan canvas seems to be worked on by a child. The marks are sloppy and have no distinct pattern to them. Flesh toned oil paint is thickly slapped on to some areas creating another dimension to the two-dimensional work. Scribbles drawn in pencil and crayon are layered on top of oil paint while a lot of the original background peeks through shades of red, brown, pink, and cream. On the upper right is Twombly’s name and the word “Roma”- a signature written in blue crayon that could easily be mistaken for a six year-old’s.
Unfortunately, it’s very unlikely that a six year-old’s painting would be hanging at the LACMA. This aspect of the work is what engages the viewer and demands attention. The viewer is instantly reminded of childhood and youth. The way in which Twombly manipulates the material automatically brings nostalgia to the viewer. Twombly achieves this by using a tan canvas reminiscent of the recycled paper schoolchildren write on. If he were to use a standard white canvas, he would not have achieved the same results. The tan canvas is incredibly instrumental in initially setting a warm tone for the viewer. Besides the color of the canvas, the palette Twombly uses is so warm it’s alive. He uses fleshy tones that seem to instantly bring life to the canvas. They personify the work, making it almost as approachable as a person. Even though using these flesh-like tones and reds could result in something that looks straight out of a horror film, it doesn’t. Instead, the pinks and corals he uses end up looking like the colors found on a child’s blushing cheeks or their mother’s chest. In capturing the essence of childhood, he also employs the use of crayon and lead pencil. These common elementary school mediums make this painting seem even more childlike.
Although this painting brings back memories of childhood in the way it is created, it challenges the traditional ideas of what art is. It forces the viewer to reevaluate what is considered to be art and what is not. This Twombly does not fit the mold of how oil paint is traditionally used, and the wax crayon and lead pencil create doubts when classifying this as a painting. It responds to contemporary culture by rejecting traditional styles of painting and creating a new category with the media it uses and the techniques used.

Essay on a Piece of Art--Rachel King

http://oseculoprodigioso.blogspot.com/2007_05_01_archive.html

I am choosing to write about James Rosenquist’s Vestigial Appendage (1962) taking up a good 72 x 93 ¼ in. in The Museum of Contemporary Art, Los Angeles. I was drawn to this canvas oil painting for many reasons. Initially, it was because it’s size and vibrant use of colors. Upon gazing at it for far beyond the time it took for my initial attraction, I started to develop a fondness for the overall message that was being pieced together through its multiple images.

There are six distinct elements/images that make up this piece. In the upper left, there is a greyscale image of a woman’s hand upon what looks like the nape of a neck. Directly to the right of it is a color image of an old-style Pepsi-Cola bottle cap with only the word Cola visible. In the approximate middle of the piece is an upside down, color image of a face only showing the nose and lips in an slightly upturned beckoning smile. The bottom half is comprised of an ambiguous red tint image including another feminine hand and a yellow box with white highlights and a transition to blue. Slightly overlapping both halves is a grey scale upside down image of a waist, hands and, slightly spread legs of a person.

I like the provocative feel to the piece though none of the images is blatantly vulgar in any way. I found I am usually drawn to pieces that are able to achieve this high level of sensuality with the use of seemingly G-rated images. This piece, to me, conveys the feel of 1950s diner days, a time where seduction had a more childlike, subtle quality. The playful choice of color adds to this childlike quality. Vestige (of the word vestigial) can be defined as “a mark, trace, or visible evidence of something that is no longer present or in existence” (dictionary.com). The artist is possibly describing this image as a hint at an era of subtlety that is no longer as present as it was we images were more censored.

Color Wheel--Rachel King

I didn't take a picture of my finished color wheel before I turned it in. The only thing missing is the smaller infinity sign (you can see the outline of where it goes in the picture) which I made out of a grey scale.

Type As A Value Collage--Rachel King

short essay about artwork

For this assignment I chose Roy Lichtenstein’s Live Ammo (Blang!) from 1962, shown at the LACMA.  The piece depicts a battle scene, in a cartoon, pictorial manner.  In the background on the left side of the picture there is an army tank, with guns smoking and aimed toward the viewer, splashing through a body of water in the foreground.  On the left side there is the barrel of a gun protruding from the bottom left hand corner, depicted seconds after firing.  A cloud of smoke is being expelled from the barrel, creating a huge explosion that consumes much of the right half of the work.  The left half has a cool temperature, with a blue background and the green tank, while the right half has a warmer color scheme; the gun is pink while the smoke clouds are yellow, red, pink and white.  The waves in the foreground are a neutral mix of black, grey and white.  The piece is extremely graphic, each form is one color with black used to break up the space and create detail and depth.  In the left upper hand corner there is a box with text inside that reads: JUST THEN… and next to the explosion there are big yellow block letters that read BLANG.  This piece is extremely reminiscent of a square from a comic strip.

            The piece is very stimulating.  With guns pointing out towards the audience, and a gun protruding toward the attacker, it places the viewer in the middle of the battle scene.  I think the piece was created to have a confrontational effect.  By placing the gun in such a manner, the piece was designed to extend beyond the picture plane and into the space of the viewer.  The audience is thrown into this battle scenario without a choice, both sides are firing, it’s a kill or be killed scenario.  However, the work is very simple, lacking the information to tell the audience which side is which.

            Created in the style of pop art, this painting employs a subject, World War II, from popular culture.  Thus, society already has a vested interest in the topic and the piece reflects the culture of the time.  Lichtenstein’s unique style also functions as a comment on contemporary culture.  By means of Benday dots, he creates pieces that mimic comic strips that have been greatly enlarged.  This technique reflects our country’s fixation on consumerism and the process of mass production that must be employed to satiate it.  I believe this piece can be viewed as a comment upon the nonchalant attitude our country frequently seems to carry about war.  Under this view, comic strips and soldiers are equally easy to produce.

color wheel and type as value

Color Wheel, by Chelsea Dunlap

Text as Value, by Chelsea Dunlap

bigger color wheel- carly

Color Wheel By Carly Helfrich

Text Value by Carly Helfrich

Richard Serra's Band at LACMA, By Carly Helfrich

On view at the BCAM exhibition, Richard Serra’s, Band caught my attention due to its immense size and weight, yet seemingly fluid composition. The massive 153 x 846 x 440 in. steel sculpture, moves in a way it is able to entrap, but also release the viewer from is steel constraints as you walk along the walls. The different angles and curves that the steel produces move in and out of the space created. The focus on movement, space and reduced material create a peaceful simplicity. While the structure it self appears simple and reduced, the unique angles and ellipses are technically complex. The contradicting elements of simplicity verse technical complexity parallel the relationship between the heavy metal and its immense size verse the fluid and elegant line movements. The steel itself, has rusted over time and created a very nice reddish-brown texture that has unique differences around the metal. It also creates a natural uniform color throughout the piece.
Every individual of the audience will have their own experience and expectations when walking around this piece. However, the work is designed provide a relationship between the daunting structural, size, and weight elements, to the grace and freedom associated with the flowing curves. There are obvious visual strategies for this, the size and material are extremely heavy and industrial, but the angled movement of the sculpture creates inlets, or almost little havens within the curves. In the case of Band, being shown at the BCAM exhibit, the piece is shown in a large plain white room, which seems to eliminate distractions and forces the audience to focus on the structure itself. This helps to promote the audiences relationship or reaction to the artwork as a very natural, individual and almost serene moment.
Band has a minimalist quality associated with contemporary art, in that it’s material structure and shape creates a pure visual moment. The physical presences and minimalist style involves the spectator. This supports the “active experience” between the audience and artwork that many contemporary artists encourage or provide. For example, ready-mades are given value through the experience of viewing; Similarly Band, forces the audience to walk around and interact with the sculpture. The movement creates a visual curiously as well as intriguing complexity. Serra’s work responds and relates to contemporary art in terms of reduction and promotes the ideas of minimalism and conceptual art. It does not respond critically, rather promotes the active production and engagement of art as a process. Serra has a predefined procedure and vision for the engineering and shaping of the sculpture, and according to a lot of contemporary art, the concept is the art itself. Band is able to present concept, presence and experience.
,, C

assignment archive

assignment #4: PHOTOCOPY COLLAGES







assignment #5: 84 SQUARES OF LINES








assignment #7: TYPE AS VALUE COLLAGE







assignment #8: COLOR WHEEL

Artwork Essay- "Volkswagon"

Last semester, I went to LACMA’s exhibition entitled “Phantom Sightings: Art after the Chicano Movement.” It was a very eclectic collection of artwork made by American artists of Mexican descent. Although there were many interesting pieces in the exhibition, I was particularly drawn towards Margarita Cabrera’s “Volkswagen.” Cabrera is a multimedia artist who uses her sewing skills to create everyday objects out of fabric, thread, and various other parts. She created a Volkswagen Beatle out of vinyl, thread, and car parts. The piece was interesting because from far away, the car just looks like a dilapidated old Beatle, but upon closer inspection, you could see just how much work went into creating it. Her attention to detail is incredible: she embroidered and outlined all the parts of the dashboard, the steering wheel, and the ventilators. She also used the original car parts for the bumpers, hubcaps, mirrors, logos, and door handles. One interesting aspect of her work was the fact that she left all the tails of the threads uncut. This gave her piece an almost unfinished look and made it seem a little depressing. When you look inside the car, especially at the dashboard, you can see hundreds of thread tails hanging down.


What amazed me most about the piece was the fact that she was able to figure out how to sew a three dimensional object at such a large scale. The car was life size and included all the seats and parts. It was basically a fabric version of an actual car. She made the car without a pattern and had to create the whole thing from scratch. The thread tails in the car show just how much work and sewing was involved in the process of creating the Beatle.

Aside from just being a visually interesting piece, Cabrera’s VW gave me a new appreciation for the application of sewing. I like to sew my own clothing, but I never even thought of creating actual works of art using the medium. Her artwork broadened my idea of the things sewing can achieve. It really inspired me to sew more and to perfect my craft. Maybe I’ll create an everyday object out of fabric and thread in the future, though my creation will most likely be a lot smaller that Cabrera’s Beatle.

Color Wheel& Type as value collage--Wendy

Art Work essay----Wendy Hsieh

Joseph Mallord William Turner—Venice, from the Porch of Madonna della Salute, ca.1835. This is a piece I saw when I visited “The Metropolitan Museum of Art” in New York during spring break. It is oil painting on canvas. I like the way that it is approximate symmetrical balance. It looks very balance no matter on the position of buildings/boats or on the value which I like it a lot.
I like the value in the painting a lot, it grabs my attention right away when I see it at first time. The color of the water looks so calm and clear. The author even drew the reflected image of the boat that appeared on the water. Also, I like the value in the front is darker and is lighter in the back which create the layer and different distance. I also notice that the author draw some greenish thing on the building (left and right) and in the middle of the painting-on the boat, which I think works really well because the color of the building seems so white. So he adds some greenish color to balance the building and boat with sky and river.

After I read the description board underneath the painting, I find out that the scene in the painting is actually combined by two different viewpoints along Grand Canal in Venice. Also, the author extends the height of the building in the background at the left and adds some building in the background at the right. I think higher height of building at the left in the back really balance out the whole painting. If he didn’t add the height than the building at the right front would be too high and it wouldn’t balance out the whole paining.

Type as Value Collage--Mai Kang

Type as Value Collage, Color Wheel, and Saturation Scale

Type Collage & Color Wheel

Katy Capper

Color Wheel:

The Fun Version : )

Saturation Scale:

MOCA Response-the piece was a different one, but I couldn't get a good photograph of it. However, the technique was similar.

My favorite artist at the MOCA was Lynda Benglis. She had two wax pieces in the museum, the more interesting of the two being called For Bob. The caption read ‘wax on wood and masonite’ which sounds really drab, but the result was very interesting. Basically it was a slab with towering islands created from layer upon layer of multi-colored dripped wax.

Most of the colors used were fairly dark shades of elementary colors with some dark green thrown in as well. Had I created the piece I probably would have used a more limited spectrum of color to keep the overall effect a little less chaotic and muddy looking. Her other piece, in simpler hues, pulls off better in that regard. Perhaps a spectrum of warm or cool color with one complementary hue would have looked the best? Some of this also depends on the material being worked with; I’m not sure how well wax lends itself to being tinted or shaded and I don’t think you would possibly be able to get it very saturated. A spectrum of saturation could have also been interesting with a really vibrant blue on the top layer that fades to black and gray the deeper the layers go. I do like how she used color in the surface layer—the pieces fades vertically from yellow to red, giving it a fiery look on the surface until you look closer to the chaos of color underneath.

The texture of the piece is what makes it so interesting. The drips from each layer make them bleed down into each other without actually contaminating the hues—the colors don’t mix since the layers were added after the previous one had dried. It would be interesting to see how much they would interact if poured at the same time. She also adds to the texture with the towers of wax—their frequency and size fades in a spectrum across the pieces, giving it more for the eye to follow.

Overall, the piece pulls off well but would have turned out better if different colors were used.

Text value collage and Color Wheel

Kristie Kam