Catacombs & Bones

The Catacombs de Paris offered an abundant resource of pattern work. The bones and skulls were arranged in a way that created a visual rhythm that lent to the overall experience of seeing death as art.

L' Hotel De Ville

Finding the darkest and lightest point before sketching is very important. As I sketched L' Hotel De Ville, I looked at how all levels related to each other, and how shape size balanced out the entire composition.

"Every Mark Has A History"

Walking the streets of Paris can be a artist's dream for inspiration. Finding the art that pours from its environment can be seen from door to door. My found drawings focused on those doors forged into the skinny side roads of Paris. Where do the doors lead to? Who uses them? Why are they scratched and worn down? All questions can't be reveled, but the door's marks can give us hints to stories of an environment different from our own.

Monet's Land

What a perfect day. Inspired by Monet's world, I broke out the water colors, loosened up my brush strokes and worked on a few flower scenes. New techniques were introduced, such as: white board marker, color application and paint bleeding. Best results came from quick gestural strokes, with ample amounts of water for the paint to bleed.

Collage It

Collage can be used to layer separate information into a single cohesive composition. My collages use layered information while focusing on color and form -- using found design elements to add interest. By eliminating the need for direct messaging, the small collages force me to make solid design choices on color and shape organization.

Blind Drawing Is Dangerous

Trusting your imagination is not always easy to do; especially when you are in a strange place with no previous vision of the area. As my guide lead me around, I paid special attention to the sounds of the environment around me. If one sense is removed, then the others have to be heightened. My results of the blind drawings surprised me. My imagination and hand coordination tried to work together. With some practice, I'm sure we all could draw from our other senses, allowing sight to be a secondary option for art making.

Sounds of Montparnasse Cemetery

Footsteps on blacktop/sandy dirt with gravel
Whispers of grieving
Small water fountain
Grounds crew working with tools
wind blowing through the trees
birds chirping
crow squawking
plastic flower packaging
crinkle of newspaper
turning book pages
silence

Subway Motion

Not all sketches are provided by what we see. Sense of touch/feel can be a true representation of an action or event. Creating without seeing may be a truthful visualization, that can speak louder than our own perceptions of what is captured by our limited vision.