December 5 to 11, 2010
Arrival on the 5th class 6 to 10 and departure on the 11th
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Jesse Reno |
large scale works - freedom and expression - primitive abstract narrative
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price is 1600 to include 5 days instruction and 6 night lodging with specified meals.
Trip insurance is strongly advised. |
5 days mixed media painting
this will be my first workshop focusing on large scale work. this is thanks to the expansive facilities at the hacienda, as well as the 5 day work week.. this will be the only workshop of its kind this year. it will be the closest look you can expect to get at my process, ideas, techniques, and methods. with techniques that promote introspection, through random actions, methods and expressions, we will build up and break down and edit multiple mixed media paintings over 5 days. the perfect amount of time to take on a project of large scale and really get a feel and full experience of how to best engage in these techniques. there will also be plenty of time to step away or into the pool to get a fresh perspective on our work. |
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each day will include various painting demos on techniques and engagement in the creative process.. most pronounced will be learning to see our work as it happens rather then seeing it before it happens. for me this is the truest and most fluid way to engage in ones work. through layering editing and accessing our steps we will learn to let go of our inhibitions and find our truest selves in our work while learning to paint free of tension.. the biggest piece of the puzzle to becomming a great artist is to enjoy your process so you are driven to create and push yourself a little bit further each time. |
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there will plenty of inspiration, space, and time to get the full experience of the primitive abstract narrative. a process of understanding all the bits of influence and quick moments that create our life and ideas yet in many cases these moments seem to go by without notice.. my process will offer a way to make sense of what is most important to you on both a base and abstract level, by engaging and reaching for the highest level of freedom in your creation. changing direction whenever a new path appears, using our hands to actually feel the canvas and paint. engaging us with our materials and the tactical experience of making art. writting our thougths as they come regardless of what sense they may make in the moment as it is always hind sight that is clearest.. this will be the outcome of our finished works a path that twists and turns but in the end tells a clear story of purpose and understanding. |
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materials-
3 surfaces between 2x2ft and 2x4ft- heavy paper (bristol, cold or hotpress at least 100lb) or gesso canvas will be best so it can be rolled for the trip home.
non toxic acrylic paint ( we will be painting with our hands) primaries - red, yellow, blue, white and black
oil pastels - 2 black, 2 white, blue, yellow, red, and any others you may want clear acrylic medium and a foam roller
paper or canvas for collage
brushes - (low quality) 4 inch flat, 2 inch flat, fan brush, 1 inch flat, any other mangeled brushes you may have you will be surprised what a destroyed brush can do.
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learning by mistake is easier-
using the wrong brush hand utensil etc is always a good idea it insures low expectation - the reward of getting more then expected is very motivating. this will also force us to learn to look clearly and stop us from expecting to see something else. its easy to overlook things when we have expectations. using akward utensils devolps technique by default. color inconcistancy using small brushes for large areas creates diversity of color without even trying an organic active field is created effortlessly while blocking out we create depth and variation. in the opposite direction using a large brush for a small area forces us to be very focused. it in time breaks us from thing everything needs to be so exact as it is in our minds it forces our details to be come out loose no matter how tight we make them.. after reviewing enough work created in this way it will be easy to see and understand its not so important or procuctive to be tense and exact when seeking to achieve something that is loose, fluid, in more emotional than precise. once you get over not doing what you expect you will see very free renderings of your intentions.
mixing color. mixing color.. mixing color. you dont end up with variation of color without mixing.. the quickest way to engage in this is on surface mixing. dipping betwen two or three colors mixing each time you go to get more paint is a good idea. the color will be similar yet vary keeping things from looking flat or drab. its not neccasarily alot of extrememly different colors that make things brilliant its a few with alot of subtlty.. to create distinct seperation use opposites always opposites.. for me it all breaks into hot against cold. red, yellow, orange, pink, against blue, or green. |
For information and reservations
contact Sam @
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