jeff chien-hsing liao, east wall, PS 1, Long Island City, 2004, pigment ink print, mounted on sintra, luster laminate, 20 x 60, edition of 12, Fruit Vendor, Roosevelt Avenue, Woodside, 2004, pigment ink print, mounted on sintra, luster laminate, 20 x 48, edition of 12, north wall: 5 Points Long Island City, 2004, pigment ink print, mounted on sintra, luster laminate, 40 x 96, edition of 6
for some of you this weeks studio tip may be common sense, but it took me a while to instinctively do it myself in my own practice. one way to get unstuck and make a change to your process is to change the orientation of your work. if you normally work horizontally, use a vertical easel or work on the wall instead. if you normally work vertically, try working on a table or on the floor. changing the orientation of the work not only changes the way you see it, but also changes the way you use your body, your stroke and your mind. this tip is also one that i teach in my markmaking workshop and seems to be quite successful for some in adding a bit of a spark to their work. enjoy!
I do this, too, for a variety of reasons:
ReplyDeleteI use a lot of drips in my paintings, so there's a need to move the work around to get the runs just so.
When painting on panels, I tend to place them flat, or parallel to the floor. My easel is really great for this.
I paint the sides, which necessitates turning the work at a convenient angle.
Lastly, when experiencing a creative block, I've been known to change the painting's orientation while it's wet. Getting a fresh vantage point can eliminate the creative block, providing freedom to make changes and improvements.
By the way, I just found your blog and really enjoy it.