How to paint like Yayoi Kusama발음듣기
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How to paint like Yayoi Kusama
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All right. So what we're going to do here, first of all, is to apply a base coat of a color.발음듣기
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And then we're going to work on top of that in so-called net to the gestural brushstrokes over this work.발음듣기
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But if you're working with some artist quality acrylic, sometimes they have a heavy pigment load.발음듣기
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Forcing that paint down into all the little interstices of the canvas here to make sure I don't have any white peeking through.발음듣기
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And what that would do is allow you to have a really crisp line between this dark violet brown color.발음듣기
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So, in other words, I'm sanding off some of this acrylic paint I just put on to give me a really nice active surface.발음듣기
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So what I'm going to start doing here is just to squeeze some of this paint from the tube here.발음듣기
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And as I'm getting ready for the first mark of the painting here, it's just going to be kind of a looping mark.발음듣기
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Slow, tracing gestures using curves of the fingers, the thumb a little bit of the knuckles here.발음듣기
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So something serial, there's definitely something repetitious about this kind of brush work.발음듣기
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There are many legends about Kusama, many of them propagated by the artist herself that she would stay up for days on end, with this kind of brush stroke and a huge canvas, literally doing exactly what I'm doing right now for three days straight.발음듣기
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But, regardless, what I'd like you to try to do here is really lose yourself in this serial activity here as a way to quiet the mind.발음듣기
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But very likely in the studio, if you can really lose yourself in this activity, you won't be thinking about your job, or your children, or whatever it is, whatever kind of stresses that you have on your mind.발음듣기
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You're not doing any kind of aggressive editing, you're just allowing the mind to just accept what the hand is doing here and really just to go with the flow.발음듣기
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Because I'm working with paint unadulterated here, straight out of the tube, you'll notice that there's a lot of very rich impostor.발음듣기
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And you'll see that in some, but not all of Kusama's work, because as I run out of this paint.발음듣기
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I'll change it, I'll do something else to it, and then a different zone of this infinity net will take on a different character from a preceding one.발음듣기
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It's not something that is kind of relational composition where you're reading one part to another part.발음듣기
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Instead, this entire painting will be able to of a kind, it will have a kind of optical flow.발음듣기
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Not exactly the same kind of mark, but same kind of speed, the same general amount of paint on the brush.발음듣기
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Also, I'm leaving roughly the same amount of empty white space between all of these marks, but you can see that none of these are identical.발음듣기
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Of course, each one is different, but they're all informed by the same general parameters of mark making.발음듣기
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Well, in the slide lecture this week, we talked about her hallucinations that she had as a young girl.발음듣기
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But certainly, when she arrived in New York City in the 1950s as a Japanese woman, the odds were stacked rather violently against her chances of becoming a successful artist in this very male dominated New York Avant-garde, Kusama a very bright young woman.발음듣기
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And I promise you that she was deeply and very sensitively aware of the abstract paintings of Philip Guston in the 1950s.발음듣기
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Which doesn't look identical to what I'm doing here, and what Kusama often does in her work, but rather, it's a reference for Kusama.발음듣기
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Because actually, if you look at each and every one of these marks here think about them as individual sculptures.발음듣기
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And in fact, when you start to explore Kusama's work, you realize that she does make sculptures but all these strange little organic protrusions off of them and really those are an extension on this very sculptural process of painting that she practiced.발음듣기
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Okay, so I've a nice start here, and we can see some really beautiful texture being developed here, a lot of really bizarre and interesting little nnoks and crannies.발음듣기
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Maygilp has been used since the Italian Renaissance and you can see it's thick, kind of this honey consistency.발음듣기
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So, this next area of the painting that I'm going to be working with, is going to have more of a buttery consistency, rather than that toothpaste consistency of our first paint application.발음듣기
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Kusama would more typically doing this, adding some more medium to her paint in a different hour of painting, let's say.발음듣기
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So that although the infinity net is relatively consistent in terms of the color in terms of the brushwork, etc.발음듣기
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The paint itself does have these does have these rather nebulous zones floating around within it.발음듣기
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And what you'll notice in a studio, when you start adding more medium into your paint, whether it's maygilp, as I'm working here, or perhaps Venetian turpentine, another medium.발음듣기
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Because it's really part of the process as I'm feeling out this canvas, as I'm allowing painting to really grow in front of me here.발음듣기
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The friction this really slow, solid, mark making that I started out with here has been replaced by something much smoother, much softer and much more buttery again, here.발음듣기
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So that you hand knows that, and as you're becoming a better painter, now when you look at that paint, you should be able to know, that's what that paint feels like.발음듣기
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And this is going to help you when you start going to museums and galleries, and you start understanding how some of these gestural paintings, the aesthetics that the artists are dealing with, have so much to do with the way their body moves with the way.발음듣기
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That they've prepared the material to track the different actions or gestures of the body in different ways.발음듣기
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So, even though my hand is moving in the identical way, as I did earlier here the pain feels different, the paint looks different, and really, this is the name of the game here.발음듣기
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Because in fact, I like the fact that each one of my brushstrokes are a little bit different here, so, I’m just going to get some of that nice juicy medium in there.발음듣기
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And this is good enough, a kind of heterogeneous, incompletely mixed, blobby kind of slimy mixture of this paint.발음듣기
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Because everything I've been doing, I happen to be right-handed, everything has a certain logic to it, based on how a right-handed person is going to move the knuckles and the wrist, so on and so forth.발음듣기
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So rather than paint left-handed, although you could do that if you're feeling daring I'm just going to change the orientation of the painting, and I'll continue to do this a couple times throughout the painting.발음듣기
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So that, again, it's one more variables that each one of these little zones Within the entire infinity net composition is imparted with a slightly different character.발음듣기
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And now I'm going to carry on painting exactly the same kind of gestural slow brush mark that I made before, but look at that already.발음듣기
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You'll notice that because this is so poorly mixed, intentionally poorly mixed that it's falling off of my brush.발음듣기
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Work with it, don't try to force it to follow any kind of preconceived notion of what the painting should look like, and allow it to be translating your hand in different ways as you move across the canvass.발음듣기
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Okay, so after a nice course of painting here, a painting that could be finished or could keep going.발음듣기
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Couple things I want to draw your attention to, first of all, these different zones of the painting that each have their own character.발음듣기
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This area here, you can see these dry brush marks, which really highlight the texture of the canvas, at the end of those brush strokes contrast that to a much more richly painted area that has some really thick, kind of blobby soft areas of paint.발음듣기
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We have a much more crisp kind of impasto there, kind of a crackle of the paint as you have some of these real stiff spikes of paint peaking up.발음듣기
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The reason for changing that consistency is that, okay, this is an all over composition, but it doesn't get boring.발음듣기
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Because your eye has no center of gravity here, your eye kind of, restlessly moves around this canvas, and it's not the same, so that, wherever your eye roams, there's always something really satisfying for it to appreciate.발음듣기
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Also, this painting is not necessarily done, sometimes what she does then is to go back into these black holes, if you will, with something really dilute, and to color them, or to make them glossy, or to make them matte.발음듣기
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So that essentially what we are dealing with is a figure and a ground, only two part painting, but she does very, very complex handling of that figure and that ground.발음듣기
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