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Zach Sawan
04-19-2009, 12:27 AM
MY IMAGE(S):
http://www.wetcanvas.com/Critiques/upload_spool/04-18-2009/185675_grapple1fin2.jpg


GENERAL INFORMATION:
Title: "Grapple I"
Year Created:
Medium: Oil
Surface: Wood
Dimension: 13.5 x 19
Allow digital alterations?: Yes!

MY COMMENTS:
As the title suggests, I did this painting before "Grapple II," which is also posted in the open critique forum. Just like Grapple II, this painting depicts a violent interaction between two individuals, however in my attempt to push my figurative work towards abstraction the two figures appear to be a jumble of body parts. I executed this piece a little different than Grapple II, specifically in that I painted it right-side up, whereas with Grapple II I turned the painting upside down, so as to help me focus more on color than form, hopefully helping to push the work more towards the abstract. I think you can see that in this piece there is a more conscious effort to depict anatomy than in Grapple II, where there are certain parts of the body that feel more like lumps of clay than arms or faces.


MY QUESTIONS FOR THE GROUP:
Also with this piece, I want to bring your attention to the background. What I've been doing lately is depicting objects in the background in not such a literal sense, but rather using the forms as starting points to make something else out of them, whether it be a new object, texture, etc; sort of a stream of consciousness thing. I'm still experimenting with it but am curious to know how it strikes you.

Thanks!

Zach

LynnDigby
04-19-2009, 08:14 AM
This is very dynamic! I enjoy the twisting forma and movement. You have certainly expressed the physicality of the moment. I am reminded of Thomas Hart Benton's figuratives in the way your figures seem to twist and turn and morph.

The background becoming less literal works, but where you have blurred it, it loses the rhythm you have established in the rest of the piece. I love your solid forms, and the way they remain separate and solid with soft shading within each one, but with distinct value contrasts in place of one form against another. I'd love to see that rhythm intact throughout. If you kept the push and pull of forms in the background, but made them with less contrast, I don't think you'd lose the effectiveness of the composition.

Zach Sawan
04-19-2009, 11:07 AM
Lynn, thank you for the insight. Your suggestion about the background makes total sense and I am eager to try it out. I looked at your work and it's really beautiful. I just woke up and haven't had breakfast yet and that painting of donuts is killing me!

bpc
04-20-2009, 07:22 PM
I am a big UFC fan..and your painting reminds my of this..you have totally captured the flailing of an opponent.

Zach Sawan
04-20-2009, 09:04 PM
I am a big UFC fan..and your painting reminds my of this..you have totally captured the flailing of an opponent.

You called it, bpc! The reference I used is from a UFC match. I plan on doing several UFC paintings and I've got another one posted in the critique section called "Grapple II" in case you want to check it out.

bpc
04-21-2009, 01:45 PM
Hi Zach..I checked out Grapple 2...nice submission hold..but I couldn't feel any suffering there..looked more like a love in....personally prefer a knock out (grapple 1) to a submission hold..of course they are both great paintings.How about a Chuck Lidell vs Randy Couture..some real pain there!!

Zach Sawan
04-21-2009, 04:53 PM
Hi Zach..I checked out Grapple 2...nice submission hold..but I couldn't feel any suffering there..looked more like a love in....personally prefer a knock out (grapple 1) to a submission hold..of course they are both great paintings.How about a Chuck Lidell vs Randy Couture..some real pain there!!

Oh man, I found an awesome photo of a these guys. I'm definitely gonna paint it. I'll post it when it's done. Thanks for the suggestion!

ArtisanCo
04-22-2009, 10:59 AM
Zach--I think you've got too much negative space in this painting. I think if you were to crop in on this piece it would be more effective. Possibly think of limbs going "outside" of the picture plane. This would make the composition much more dynamic. Chad