Watermedia Works: Passing Pleasures

Monday, March 14, 2011

Passing Pleasures

Passing Pleasures


2.13.2011

2.20.2011

2.24.2011

3.6.2011

3.12.2011

12 comments:

William CookTuesday, March 15, 2011 at 8:45:00 AM MDT
Stan--These are downright exciting. Thanks for posting them. I am familiar with the raw energy and processes you speak of, down to the simple date for a title.

I too repeated a thought in my mind, or instructions to the clumsy beast making the art like, "full range, oaf--black blacks--white whites and everything in between', and "detail? I got your detail! there's your stinkin detail", and "I don't care who you are just keep coloring till the paper shines!".

Of course then there was the direct argument with the drawing itself. You can't be wimpy doing this kind of work. When the drawing begins to show life you have to smack it around a little to keep it from going all prettified.

Very cool stuff, Stan. I'll post some of my episodes.

Wm
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jbkrostTuesday, March 15, 2011 at 1:22:00 PM MDT
Fine, Fine work .....
always a pleasure to check in and see what you've been up to....
keep them coming!
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Rosalie WronaTuesday, March 15, 2011 at 6:13:00 PM MDT
Wow! These are exciting! I always love your black and white ones :)
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Stan KurthTuesday, March 15, 2011 at 10:45:00 PM MDT
William - Thanks and you're welcome. The clumsy beast making art...
Well put sir! I think every artist aspiring to elevate should quit being wimpy and start taking liberties, full tilt boogie on the artistic license. Personally clumsy beast that I am, I have no choice in the matter.

JB - Thanks, glad you're checking. I've been following your work ever since I discovered you on Katherine Treffinger's "What is the Meaning of Art to You".

Rosalie - Thank you, as always and I'm glad you're doing better. It's hard for me to say this because I wish it wasn't so, but the black and whites are better. My paintings always seem to be lapsing behind the drawing. I'm working on that. It's funny, someone recently asked me if my drawings were for sale and I thought to myself that would mean taking them out of the book. I don't want to take them out of the book and I want the book. Yet I have no qualms about selling any painting I've ever done. In fact I recently donated a painting that won a major award in the Western Federation of Watercolor Societies to a charity event for "Free Arts", a nonprofit organization that benefits abused children with art.
Free Arts of Arizona
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Stan KurthTuesday, March 15, 2011 at 10:49:00 PM MDT
Free Arts of Arizona
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AnonymousWednesday, March 16, 2011 at 4:34:00 PM MDT
Hi Stan, Your work is exciting! I thoroughly enjoy seeing your latest art!
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EvaThursday, March 17, 2011 at 9:13:00 AM MDT
If I ever want a reminder about the power of expressive drawing this is where I come. Your work is amazing!I understand about not wanting to sell your drawings and I believe that's what makes them so fantastic. For me, as soon as I think of selling, the work changes. It loses it's honesty.
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Stan KurthThursday, March 17, 2011 at 11:37:00 PM MDT
Peggy - Thank You, I'm thrilled that you like my work.

Eva - Thanks. Someday I'll write about the process and why they're so personal.
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Happy Little Trees StudioTuesday, March 22, 2011 at 9:27:00 PM MDT
These are amazing! Someone used "raw energy" to describe them and they are right! Fantastic!
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MexóbaMonday, April 4, 2011 at 4:16:00 PM MDT
Nice pictures, u have a big talent!, we love your work!, we're starting with a small blog of photography! if u want visit us, this is our direction web, Greetings!
www.fotosparadisfrutar.blogspot.com
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layersWednesday, April 6, 2011 at 4:07:00 PM MDT
Your work is so organic, expressive and free-- I wish I could get some of that into my work.
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Stan KurthTuesday, April 12, 2011 at 11:03:00 PM MDT
Donna - Thank you. I value your comments and I do see the organic, expressive and free in your work.
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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."