Julie Devine

Wednesday, March 7, 2012

Observational Collage

In a recent workshop with Kimberly Trowbridge, we assembled a collage in monochromatic values while working from observation. Getting started with this process was slow-going as it required a shift in visual translation and construction strategy. Here is the result of my efforts.

Julie Devine, Nude Collage, 2012
Sumi Ink on Paper

In an open studio the next day, I repeated this process, but decided to work more loosely, using odd scraps from the day before and tearing inked paper into general masses rather than cutting the paper into specific shapes. I also layered pieces more intuitively, placing blankets of shadow and light that extended beyond edges of forms.

Julie Devine, Wrapped, 2012
Sumi Ink on Paper

Something about the shapes and torn edges gives this collage a Japanese feel, I think. And on that note, I'll close with an image of one of my favorite Pacific Northwest artists and master of collage, Paul Horiuchi. His work is just beautiful.

Paul Horiuchi, Untitled, 1959

Tuesday, March 6, 2012

Oil Sketches - Winter Nudes

Julie Devine, Nude Oil Study
Oil on Canvas, 2012

Julie Devine, Nude Oil Study II
Oil on Canvas, 2012

Friday, December 30, 2011

A Portrait of Joe

Recently, I had the good fortune to paint my friend Joe, who came to sit for me several times for this portrait. It's the first time I've had someone model for me at my home and it was a lot of fun. Joe has a great face. I think the painting looks a bit like him, and strangely, a bit like Shia LeBeouf. I like how it turned out.

Julie Devine, Joe, 2011
Oil on board, 14" x 11"

Self Portrait in Cobalt

This was started as a homework exercise in Anne's class. It was painted at night with directional lighting on part of my face, and diffused flourescent lighting in the room behind me. I wasn't satisfied with it in its earlier state, but the geometrical shapes felt promising, so I went back into it over break and made some color adjustments among other changes. I like it better now.

Julie Devine, Self Portrait in Cobalt, 2011
Oil on Board, 14" x 11"

Funny how there is always something a little sad or intense looking about self portraits. Painting a mirror image of oneself for hours over several sessions must account for the curious expressions.

Three Charcoal Portraits

Here are a few more portrait drawings I did in Geoff's class. Each is from a 2.5-hour sitting.

Julie Devine, Portrait Study III, 2011

Julie Devine, Portrait Study IV, 2011

Julie Devine, Portrait Study V, 2011

Friday, December 2, 2011

One Catherine, Two Primary Palettes

Sometimes I'll return to a homework assignment to complete it if I've run out of time, or push myself a little further if I feel there is more to explore. This was the case with a primary palette homework assignment given by Anne Petty this quarter. We were asked to paint two loose reproductions of a master painting using different primary palettes. We could choose from three self portraits by Catherine Kehoe. I chose this one because the brushwork and color combinations seemed the most challenging to take on.

Original Image by Catherine Kehoe

With the first palette, I was unable to get really satisfying red-violets. Having alizarin crimson available in the second palette felt wonderful, but with yellow ochre as my only yellow, I was unable to get the chartreuse colors with the second palette, and chose to strive for a rich gold as a substitute.

I spent quite a bit of time on these, making three or four passes on each. I was fascinated with Kehoe's sharp, flat brushwork, and tried to mimic her shapes and strokes as much as her colors. My favorite part is the collar. I love the structure and solidity of it.