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II. Critiques of Work

A. Helen Haynes Critique

H. Haynes - 3 paintings (acrylic) 1 pen and 1 ink drawing 

Stevens-"Cocks Piece" control has really improved, also her ability to user color - especially reds. 

Haynes- is involved with patterns and rythm in her work.

her affinity to music is reflected in her changing rythms, which have a quality of music. 

She is in the process of working over her old pieces. 

She sees herself primarily as a figurative artist. Her use of decorative embellishments is on the increase. 

The spirit of her subject is projected in her Rastafarian piece. Organic forms are used in the work - natural forms and rythms. Energy patterns interject suggestion of other things that are happening as opposed to larger pieces. 

Stevens -overdrawing on the face should not look like applied patterns - they should work with the form. 

B. Rose Auld Critique

2 circular acrylic paintings on leather 4x4 diptych 

Auld - Use of Afro-Asian "symbologies" analogy of Native American condition with that of the South African. Traditional Asian and African symbols are used to underline the commonality of the "stranger in one's own land" problem as opposed to the Black American "stranger in a strange land concept." Relates her affinity for using all areas in her work for embellishment and design. 

(Donaldson) That's called "horror vacui" literally, "fear or avoidance of empty space - a basic Africobra - Farafindugu principle. 

(Donaldson) (reaction to Aulds plans for mounting the piece on a woodburned plywood round) "Do you feel that woodburning the background will be compatible with the precision of the piece?"

(Henderson) There is a pattern already in the wood that burning will vie with. 

(Smith) Alligator section of the work reminds one of an aerial section of a loaded slave ship.