1. What are you on dA for?
To post my art so other people can see it. To see other people's art so I get get new and better ideas for my art. To get critiques on my art so my art can become better. To give other people help with their art so their art can become better. To occasionally chill out with other artsy types.
2. Who is your favorite dA member and why?
I'm supposed to have a favorite? and why?
3. Tell us a bit about yourself!
Hi!, umm... painting, drawing, some sculpture, some ceramics (not a great potter, though), some poetry and lit. I'm getting my degree in Studio Art with a Math minor. Getting my teaching certificate in Math. Should be graduating from college pretty soon. You'll recognize me if you ever meet me because I'm the awkward, shy person, who, when she finally joins the conversation, takes the joke too far.
4. Why did you join *Critique-It?
For the whole "critiquing my art and others' art" part of being on dA. I've actually been here for a while, but I've decided recently that I want to be more involved in the dA community because I enjoy it, and because when I'm interacting with artists, I get more passionate about my own art.
5. What's your favorite piece from your gallery? Why do you like it so much?
Probably Portrait of a Girl is my favorite, but i'm not sure. it's oil on canvas, and like all of my stuff it's not traced. it is referenced, but from a much smaller photo. spent a lot of time on it, and it was successful, and beautiful. But I'm starting to veer towards alot of color... like my new piece Cracking Up. but that's my very first palate knife painting, and it's not so very large, only 8"x10", and it didn't actually come out quite like I wanted it, so I feel obliged to make more of them and get better at it... well obliged isn't the right word, because I want to. that particular piece only took like 2 hrs, tops. That includes the pre-sketch on the canvas, but not the canvas prep.
Although, I love my charcoals, too. and my inks. and I have more sculpture that isn't posted. I also, in a detached kind of a way, really like the paper/string sculpture. Not so much for its aesthetic, but for the theory of the tension between the paper and the string. there was a whole series of them, with only this last one posted.
Additionally, I'm starting to fiddle with leather masks, which is badass and fun (if a little stinky.)
6. Do you give critique? Why or why not?
Absolutely. no matter what a person's philosophy on art is, critique is vital. If your art abandons the aesthetic to pursue a philosophy, then you are presenting to the world a visual argument for your philosophy. The only way you'll know that your argument is being taken seriously is if someone argues back, verbally or otherwise. No single argument (visual or otherwise) is ever going to adequately convince the world of a philosophy, and really, you're not doing it right if someone isn't pissed off. To refine your argument, you need critique. I need it; you need it.
If you are abandoning art as philosophy to pursue the aesthetic, then critique is just as important because you almost certainly don't have it right yet. You are probably putting in content you don't intend to include. I mean, really the pursuit of art as pure aesthetic is almost futile. Even if you put nothing in your art you still have content (probably philosophical in nature) like Rothko's large blocks of color.
The very nature of art, since it is subjective, means that the artist doesn't even get to decide what his/her art means, or says, or anything. All the artist can try to do is control what is put in as much as possible and then pray that the reader/viewer/audience got out of it what he/she intended for them to get out of it. You write a book, and a high-schooler gets to say that you wrote it about whatever they want. And it holds, if that person can use 3 quotes per paragraph as evidence for their argument. Ana Mendieta's earthworks, while violent, are not necessarily about rape as so many people are fond of proclaiming. Yet, that is the prominent philosophy. She didn't say that's what they were about, and even if she were to argue, I doubt it would do much good, because the artist doesn't get input after the piece is presented. the only input the artist gets is back in the studio.
Critique, therefore, is very important so that the artist hears someone say "this part of your art says "this" to me." and the artist can respond by removing distractions, or emphasizing the point. Critique helps the artist control what the audience experiences be letting them get their message through more clearly the next time around.
We hope you enjoyed this interview. Please spend a few moments browsing =CabaretBlondie gallery!