The November/December 2018 issue of Artists on Art magazine features Gaining Strength Through Art; Beyond the Studio Walls; Toxic Art; Developing a Narrative in Your Figure Paintings; The Secret Energy of Successful Artists; Drawing with Expression, Not Expectation; and more.
Here’s a sneak preview of the new Artists on Art magazine:
From Gaining Strength Through Art
(includes step-by-step oil painting demonstration)
“The painting ‘Resilience’ (featured on cover) is a piece that reflects all of that life experience, and it speaks to the broader theme that my thesis work will be about — death and rebirth,” says Aixa Oliveras. “This painting in particular symbolizes the inner strength that I needed to draw from in order to manage all the hardships and sense of loss I was feeling. In a sense, my old identity was dying.
“Who I am now is not the same as who I was merely a year before. The process of growth — growing into yourself, into a new identity — can be a process full of chaos. Chaos in the sense of opposing forces battling within you: your old thought patterns and defense mechanisms battling against the new knowledge about yourself that you’ve acquired. It is both of these inner and outer forces of chaos that I am depicting through the botanical pattern of the piece.”
From The Secret Energy of Successful Artists
“Like all great achievements, until misfortunes determine otherwise, the dreamer must have one goal and only one goal in mind, and all efforts will be channeled toward attaining that dream,” says Samuel Adoquei. “Through different paths, different applications and different tactics, all energy is directed and aimed at achieving the goal.
“Humans face the same fate, but sometimes by forgetting what is important in their pursuit, they choose an inharmonious direction; they avoid responsibilities toward life and nature. In return, the societies and groups we invent suffer the fate and consequences of going against the natural laws of our advancing world: the practical and logical world where inspiration attracts the brave and the prepared.”
From Drawing with Expression, Not Expectation”
“Of all the parts of the body, hands are often considered to be the hardest to draw,” says Agnes Grochulska. “It is true that their intricate construction and seemingly infinite number of possible positions and gestures might feel overwhelming at times. The only way to be able to draw the hand is to understand it, and the way to understand it is by both studying the anatomy and mechanics of the hand, and practicing drawing and painting it . . .
“Recognizing and learning from our ‘bad drawings’ might be the most valuable part of the whole practice! Being comfortable exploring different options and not focusing on being ‘right’ allows our own sensitivity to explore different ideas and ways of representing what’s in front of us and eventually finding our own artistic voice.”