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ZOTMA
03-17-2004, 06:24 PM
oil on canvas 36"x48"
(getting too big to show up very well with the size limits here,
glare from wet paint at the top making the paint look darker there than it is,
will try to reshoot)
comments and crits welcome

ZOTMA
03-17-2004, 06:26 PM
and da detailz ya know
so you can kinda see better what's goin on

arourapope
03-17-2004, 06:32 PM
Oh yay yay yay! A new Z painting! You know I'm a sucker for those lines, and the little bit of Maya to ground it (Grounding Maya!), yeppers! There's even snow. I love the sense of distance, mist, unknown. Ever wonder where you would wind up if you just followed the wires?

Tamana
03-17-2004, 07:00 PM
Ummm. A sound or audio wave rolling across the distance to crash against an eardrum beach or a coral-iris eye. But sometimes lightening strikes out of the dark of sky to release the magic the wires hold inside and a fire is born.

It's reflective; like looking down a railroad track, or watching a flight disappear into a cloud: dusty like a midwestern intersection where all one has to do is stop and look. It reminds me of when I lived in New Mexico.

I love that yellow/gold.

surreal
03-17-2004, 07:30 PM
Hi Z,
I like your juxtaposition of cool color and earthtones as well as organic forms and sheer smooth forms.

The left hand side of the painting, where the vertical rectangular area forms between the pole, land and edge of painting, IMHO, is too large.

I think that if this rectangular area was half the size, the viewer's eye would focus and happily dwell, on the wires kissing the water.

I covered half of the rectangle with a sheet of white paper and the piece worked so much better for me.

Take the above with a great many grains of salt, etc., etc.
Just my 2 cents being offered to you, who I consider to be a contemporary master painter.

TeAnne
03-17-2004, 07:41 PM
I would love to know what's beyond the wires. Yay Zotma :clap:

fractalfingers
03-17-2004, 07:55 PM
A direct phoneline into the heavens... who could ask for more.

muchfoolishness
03-17-2004, 09:14 PM
:) such an isolated intersection
what peals of in nowhere and why?
i saw a documentary on James Gleeson thother night :)
he said to say hullo
he is having a major retrospective this year at the national gallery
i will try to steal the catalogue
the hard smooth outline of the "hill" troubles me a bit
but then you quite like troubling
and i quite like being troubled
just enough to take it out of the known
that small kafkaesque doubt
applause

kelly
03-18-2004, 10:10 AM
This seems like its tipping more into surrealism...Im wondering about an integration of the mind and heart this being the thinking part of Zottarella.

jnet11
03-18-2004, 11:23 AM
is that a little man hiding in the detail shot?

the post is rippling with strange energy
no surprise considering it's destination (origin?)
are we getting power from the void, or giving it?

beautiful piece, you are seamless with integrating the abstract and the real

VieSaintSo
03-19-2004, 11:37 AM
"Top of the world MA!!" (James Cagney) old old movie....came to my mind right away :p mind you its the last line before he dies in the movie :D
Any way....so, i keep being a big fan...
i enjoy the mystery of where the phone line goes.at the same time it makes me hold my breath; vertigo takes over.
the details bring up again your delicious choice of colors and brushstroke. :)

SanDL
03-19-2004, 05:50 PM
Nice and big...I haven't visited this forum in a while so I don't know how long you've been working larger...Your stuff is great on this scale. The mystery is fantastic.

Gollator
03-20-2004, 10:48 AM
Connected to the world. The totem-pole eradiates and vibrates from electric power / digitized messages / aetheric flux.

Thumbs up, Frau Candelario :-)!

One thing maybe: I think the land on the lower left looks "cut out" of the background because it is such a straight line. Maybe loosen that up a little?

Cheers
Dan

ZOTMA
03-20-2004, 06:43 PM
well, I tried to reshoot and this one isn't going to cooperate
maybe it'll be better completely dry, dunno
anyhoooo.......

aurora; thanks for the enthusiasm, feels good. this piece was definitely spurred from that feeling of following the lines. I went on a trip last summer with my cuz, we set out up northern az, southern utah, the desert, reservations etc. lines just diminish into the horizon and you wonder where they could be possibly going, there's nothing for hundreds of miles. the feelings and visions from that trip are working their way into pieces now. the windsock was from that trip too. this vision was birthed at the vermillion cliffs in northern az., a really inspirational place (though it's not meant to be a rendering thereof). grounding maya, funny huh :D.

Tamana; too funny what you said about stopping and looking/reflecting, I did just that at the spot (and took a pic of some wires :) ). new mexico, good call, that's not too far away. that yellow gold is various mixes of yellow ochre and some of my fave mix-ins. I could eat yellow ochre I dig it so. thanks for the comments.

surreal; thanks for the crit! I see what you're saying, the crop would bring the vanishing point into being the focal point of the piece. I felt divided about that when I was planning the compostion; I wanted the lean and tension of a split focus....kind of here? or there? what is important?; the connection/intersection or where it goes? know what I mean? I agree with your observations, yours working well as a composition. I've been gambling, trying to work towards the edge. ideas working a little? not working? *learning*. on to the next piece. thanks mucho for the feedback.

TeAnne; fun to use ones imagination eh? you tell me :).

fractal; mmmmmmm, yeah, I like your take very much, thank you.

micheal; awwww I wanna see the documentary better yet the show! waves back to gleeson and you. I betcha the catalogue will be available to even us shlubbs out here who can't see it, I'll see about getting one cuz you know I be wantin it. thanks for thinking of me. about the hill deal, perhaps too edgy. I appreciate you diggin the troublin. you did get what I was going for (diggin the kafka comment, yes), I need to work towards eloquence. thanks.

kelly; thanks for the observations, I've been trying to get the two to shake hands for quite some time now. (haven't been called that nick yet, nice :) )

jnet; okay girl, where's that man? you know they have a way of slipping in sometimes. thank you for your words, music to mine ears.

viesaintso; I like what this brought to your mind, I've seen that one, cool. the second breath holder piece in a row, I'm on a roll! thanks a lot for your feedback.

sandl; hey hey haven't seen you around, miss seeing your work (will ya post some?) you know, they never seem big enough. this one cracked me up; I first grabbed a 24x36 for it, nah too small. then a 30x40, too small still. grabbed the 36x48 and told it to fit or else. could have gone 48x60, maybe I should have. thanks, I like the work big too :D.

dreadator; holy crap those dreads look long, pal. nice. yep yep on your take, nice words. yep yep the cut out hill, might be a bit problematic eh? this canvas is saturated so there's really no going back with that decision. I just be lookin fo trouble (as michael says). danke for the thumbs up for the frau. :D

thanks all for looking

Bisco
03-20-2004, 11:27 PM
this is raw dog zot

Dahzl
03-21-2004, 12:08 AM
Stretching and pulling out into the " Never Never "...........Lovely tension play between the wires and the background sky. Great dramatic composition.

Lovely Lovely Lovely...........

Cheers Dahzl :D

Gareth
03-22-2004, 11:20 AM
You know I love your work Karen, but will you stop stealing my ideas? I mean, I let the split panel go; but the wires? Well that's just a bridge too far........... ;)

Would love to see this in the flesh, a 'puter screen can't come close with a bigger work like this. I want it to drown me like a kitten in a bucket.

Gar
03-22-2004, 11:39 AM
I especially dig how you let a taste of reality creep into yer fantasy here.

Has to be one of my favorites of yours to date. :cool:

Gonzalo Golpe
03-22-2004, 01:47 PM
From my point of view, I think the most important aspect of your painting is the diagonal to the "end/beginning" of the wires.Beautiful,Zotma, always like your work :)Zalo

ZOTMA
03-23-2004, 05:01 PM
Bisco; glad this struck you sushi style, thanks.

dahzl; thanks for enjoying the tension and the never never and the lovely comments.

gareth; you know I have no original ideas so I must steal all of yours :p
sure, come drown with the other kittens.

gar; yeah, I've got some seeping and creeping going on in some of the next few, glad I struck it for you. thanks for seeing.

GPG; diagonals/lines are the playahs in this one yeah, I enjoy playing with that from time to time. thanks for the nice words.

okay kids, on to the next one

ordie4
03-23-2004, 05:15 PM
I especially dig how you let a taste of reality creep into yer fantasy here.

Has to be one of my favorites of yours to date. :cool:


kinda like how gar put it & agree

ejfarrae
03-24-2004, 06:36 PM
that maelstrom of form at the bottom is breathtaking but i can barely take my eyes from those wires and that sky.
perfect in tone and hue.
the loneliness at the end of a summer day-
the brewing storm
of doubt
as a phonecall goes unanswered


very strong.

cagathoc
05-04-2004, 08:12 AM
you're amazing

i visited your web site

this is one of my favorites

you are a master of surrealism


but why this one is my fav is the exquisite tension wonderful