Watermedia Works: Inflamed

Wednesday, February 10, 2010

Inflamed

Acrylic on Coated Lithographic Paper

11" X 11"

9 comments:

-DonThursday, February 11, 2010 at 12:56:00 AM MST
This has an excellent energy about it, Stan. The white heat coming off the flames is HOT. Great job. -Don
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UnknownThursday, February 11, 2010 at 6:07:00 AM MST
When I look at your work I visually block areas to see how you resolve halves and quadrants because the intricate balance that you establish in each painting is unique and complex. Although it takes me a while to understand something so complex, my immediate response is to the elegance and dynamism that embued in your paintings. Wow!! I could study them forever. And, I agree with Don's comments.
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UnknownThursday, February 11, 2010 at 6:10:00 AM MST
sorry about all the typos in my message and hope you got the gist of what I was trying to say!
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Leslie Avon MillerThursday, February 11, 2010 at 9:50:00 AM MST
Yum.
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Stan KurthThursday, February 11, 2010 at 2:26:00 PM MST
Thanks to all and yes Kathy I think I got the gist.
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Tonya VollertsenMonday, February 22, 2010 at 12:58:00 PM MST
Well, Stan, I always feel inadequate commenting after Don and Cathy and I completely agree with both observations so "dito" what they said! LOL! This is a very exciting piece!
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Stan KurthMonday, February 22, 2010 at 10:47:00 PM MST
Thanks Tonya,

I can certainly relate to your feelings about posting after Don and Kathy. I've only been blogging since the beginning of the year as you well know and I'm really enjoying it! Thanks for being my very first follower.
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Corona Landscape – Landscape Maintenance ServicesSunday, March 7, 2010 at 12:18:00 PM MST
Thanks for the interesting and informative post. I look forward to more in the future.
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Stan KurthSunday, March 7, 2010 at 6:49:00 PM MST
Thanks Corona, What did you find most interesting about it?
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Statement

One definition of intuitive includes words like feeling and instinct. These terms are mildly interpretive, and who can argue with artists who “feel” their way through paintings. My definition of intuitive painting is beginning the work without any preliminary thoughts or plans for a particular object or subject as an end, but rather starting on a blank substrate, making marks with a variety of tools, creating a library of design elements and applying design principles until a personal aesthetic is achieved. I do not use any external reference.

Marks are mostly random early on, but sometimes lines or shapes of thoughts occur during the process. Many of these are repetitive, my archetypes. It is not uncommon to find vague human anatomy, non-specific animals, interiors, buildings, furniture, vessels, surreal botanicals, automobiles/parts and a multitude of objects I have found interesting over the span of a lifetime. Some of these shapes may look familiar but are ambiguous enough to allow the viewer a personal narrative. This may be intentional or not on my part. I prefer mystery and intrigue over the obvious.

As paintings progress, more elements including color are introduced. These are random at first but as the process continues a shift towards design takes place. A dominant color temperature may emerge, or a glaze might unify colors beneath it. Values can shift to dominant light, mid or dark. Elements are enhanced, obscured or covered up. There may be multiple layers and quite often evidence of the beginning will peek through. I use a variety of tools to apply pigment or remove it in varying degrees. These tools include brushes, palette knives, scrapers, sticks, sandpaper, my hands, my fingernails and more. Gradually principles such as rhythm, harmony, unity, pattern, gradient, conflict, dominance, contrast, balance, repetition, alternation and movement coalesce into a composition I find esthetically pleasing.

It is one thing to make a pretty picture with good composition, but quite another to bring the viewer into a painting by such means and hold their attention with content. My objective is to evoke a pleasing visceral response from the viewer.

"There's a complex simplicity in Stan Kurth's paintings that is both paradoxical and straightforward. As he works with multiple layers of watercolor and gesso, his provocative images emerge. Ambiguity and form coalesce into a singular, cohesive vision that holds the viewer spellbound"

Betsy Dillard Stroud - Watercolor Masters and Legends: Secrets, Stories and Techniques from 34 Visionary Artists

About

"Artist and workshop instructor Stan Kurth has drawn and painted most of his life. An aunt, who was an artist and art instructor, became a big influence even before he began school. Stan lives with the conviction of “fear not” and that same attitude permeates not just his life but his art. His focus and dedication to his work have earned him signature member status in several watercolor societies including the National Watercolor Society, San Diego Watercolor Society and the Western Federation of Watercolor Societies - Master. He currently lives in Arizona."