Today I sold one of my favorite paintings. It's hard to let a painting go, but it feels so good to know that it will be on someone's wall and not in my painting rack. And this painting couldn't have gone to a better home!
Filtering by Tag: Lara Hoke
I am thrilled to be moving into my new studio next month at Norton Factory Studios. The past several years I've been lucky enough to have space in our home to paint. I'll miss the convenience of home, but won't miss some of the challenges (lighting, ventilation, cat hair...). What I'm most excited about is the opportunity to be part of a community. It is something I've missed dearly ever since I left Madarts Studios in Brooklyn five years ago.
It's hard to capture the beauty of the space. It is airy and full of natural light. Construction is not yet complete, but it will be ready for move-in on February 15th.
After about a month's break from the studio, there are couple of new Oakland nightscape studies in the cooker. I'm also planning a slightly new approach to the paintings, stay tuned!
In addition to studio work, I've been busy drawing in my sketchbooks. My Several months ago I switched to the larger format Moleskine Japanese sketchbooks (5 x 8.25") from the smaller ones (3.5 x 5.5").
I am enjoying the extra space on the page. I think working larger has loosened my line work. The newer sketchbooks feel freer and less conscious of the page's edge.
You can view more of these new sketchbook drawings here.
This past weekend I took a two-day workshop on encaustic painting at Kala with the artist and paint maker Hylla Evans. Encaustic painting, also known as hot wax painting, involves using heated and pigmented beeswax.
Learning a new medium and technique is both intimidating and freeing. What I ended up creating was nothing like what I expected to create. To learn something new is to take a risk.
Below is the latest painting in my Oakland Nightscapes series. Unlike the previous paintings in the series, which were primarily concerned with a particular corner and storefront, this painting is of our house.
This series of paintings explores familiar places that take on a very different character after dusk.
This painting is still in-progress though I anticipate completing it within the next week. I apologize for the quality of the photo. This series has been notoriously difficult to photograph.
Thanks to everyone for your thoughts on my painting of Ben. I've made progress, but am still having trouble with his left eye. What do you think? Does it still look awkward or distracting? Or do you not notice it?
Below is the most recent photo of my painting of Ben. I think (hope?) it is almost complete, but am curious to hear what you think. I am particularly interested in feedback on the sketchiness of his ear, shirt, and left eye.
I am participating in a show titled "Faces" in Berkeley that opens early next month. I will be showing three pieces and--potentially--a fourth, if I can complete this portrait of Ben which I started this week. I want this painting to feel like a charcoal drawing, with the artist's hand present in the push and pull between additions and erasures. The main image below is where the portrait is now. The three images in the strip below are from earlier stages in the portrait's evolution.
I meant to post this three weeks ago, but forgot...
Our crit group met last night. I brought the two paintings I recently dusted off and am reworking. The experience was a reminder the feedback is invaluable. The comments and suggestions on where to take the paintings were much appreciated. It is easy to become blind to your work. Critiques give you an opportunity to see your work through another's eyes.
During my critique, I was reminded to not get distracted by detail and to look at the shapes.
I specifically asked for feedback in regards to Kim - I was concerned about how sacharine it was and wanted suggestions on how to make it less so. One group member suggested I remove the plants and pots. I did that first thing in the studio today. I also am paying more attention to the angles in the painting. In Lindsey. I removed the ambiguous shape behind her head and simplified the space.
I'm very pleased to announce that my painting Ariyele will be included in the MarinMOCA Fall 2012 National Juried Exhibition.
August 25 – September 30, 2012
Reception: August 25, 5-7 p.m.
Juror: Renny Pritikin, Director of The Richard Nelson Gallery and The Fine Arts Collection, University of California, Davis