Viewing page 23 of 34

This transcription has been completed. Contact us with corrections.

2

-Art Beatty-"Why don't you leave more of the natural skin exposed?"
-Stevens recalls his own paintings on doors, remembering the process he went through to arrive at incorporating the natural wood.
-Zimbabwe the next piece Harris shows is more succefull [[successful]] in mounting.
-Another work displayed "Hot Licks for Satchmo and All Jazz Daddies" is concerned with space, raw canvas, translucencies and under layers showing through. Harris uses caulk to build up raised designs under paint.
-Stevens-"How did you decide on the size of the head?
-Harris- says it was intuitional, he started with the underpainting and and came out with a head the size that would leave the mandala surrounding it.
-Adger Cowans-"I miss the dark blue not appearing again." The blue tones are too light and happy. "You need more moody blues, like those evolved in the head area."
-Harris-"I thought that more of the moody blues would be too much against the hot electricity of the rest. Lights change the colors very much."
-Donaldson-"Why do the forms change so drastically when they reach the head?"says Jeff Donaldson. "The forms all stop, as if he were creating all that was going on around him or it creating him. You need a more positive relationship dividing the head from the background. Even though the colors are really singing the head doesn't have to hang on that neck so hard.
-Adger Cowans suggests cutting the wood to the exact shape of the skin. Then mounting on a stand.

-Critique of Ron Anderson's work-

-Anderson-"The small heads were carved 10 years ago at Howard. This is the third piece in a series, two of which have been shown at previous meetings. This one is minus the raffia because it was distracting from the piece."
-Jeff Donaldson-Suggests stiffening the remaining raffia to reflect the shape underneath the heads.
-Anderson-"I'm trying for a gradual distribution of color and shape. The canvas allows for a sandy texture built up to form structure."
--Aturo Lindsay-"What is happening around the back?"
-Ron-"Not too much as been developed on the back."
-Others express the feeling of wanting to go around the piece.
-Lindsay-The presentation needs to be considered more. The string which the work hangs by is refered [[referred]] to.
-Ron Anderson-"The supporting string is versatile. Depending on the gallery it can be used to hang the piece or just to decorate the work."
-Rose Auld- Feels that the small carved head detracts from the beauty of the total piece.
-Donaldson- Is impressed with color sense achieved through experimenting with 3dimensional [[3 dimensional]], skins and paint. "You  are somewhere between 3 dimensional and painting.
-Adger Cowans sees the small carved head an  unnecessary reiteration of the back ground circle which evolkes [[evokes]] a head anyway.
-Art Beatty-The piece has a spiritual and mystical presence. "I find it hard to put restrictions on a work like that."
-Donaldson-"An image that no one can read is an uncipherable [[undecipherable]] mark. It must be made by one and understood by [[strikethrough]] [[?]] [/strikethrough]] another . A symbol proves itself when it is regarded and dealt with by the significant other."