My Works--Colorado Academy of Art

Boulder, CO
2007-present
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The Cast Painting course builds upon first trimester's Cast Drawing course. We first draw out the general form and shadows of a cast using the sight size method, then transfer the drawing to a canvas. The painting is then built up through several layers: The first few layers are paint without any medium, layed on thickly. Once a layer dries (which takes about a week) we scrape down any areas of paint that aren't smooth (the first layer uses only four values and leaves raised peaks all over the canvas), then add a next layer, increasing detail and the range of values. Once the painting has reached a certain stage, we start glazing with a medium that is 50/50 damar varnish and stand oil. Glazing is also done on a weekly basis, going over the entire painting (but not painting everything) and building up layers.

Instructor David Larsson. Course: Cast Painting. Spring 2008.
This was the first time I'd done a painting using this specific technique. I wasn't happy with the process or outcome, so decided to do a second painting with the hopes of feeling better about it all (I did--see below).

Instructor David Larsson. Course: Cast Painting. Spring 2008.

The Drawing from the Flat course follows the Charles Bargue Drawing Course. We copy Bargue templates in layered graphite. The first three drawings were copied one-to-one, with the final two done as enlargements (these will be posted as they are completed).

Arm--After Bargue. Instructor Michelle Philip. Course: Drawing from the Flat. Graphite. Spring 2008.

Leg--After Bargue. Instructor Michelle Philip. Course: Drawing from the Flat. Graphite. Spring 2008.

Pair of Legs--After Bargue. Instructor Michelle Philip. Course: Drawing from the Flat. Graphite. Spring 2008.

Belvedere Torso--After Bargue. Instructor Michelle Philip. Course: Drawing from the Flat. Graphite. Spring 2008.

In the Cast Drawing course we were taught the sight-size method to create accurate copies of casts. Below is my final drawing:

After Bust of a Little Boy. Instructor David Larsson. Course: Cast Drawing. Charcoal. Fall 2007.

The following are drawings from a final project for the Drawing Fundamentals course. We were to use graphite in a variety of techniques to complete drawings of specific objects:

Three eggs touching. Instructor Michelle Philip. Course: Drawing Fundamentals. Layered graphite. Fall 2007.

Cylinder with pencils. Instructor Michelle Philip. Course: Drawing Fundamentals. Fall 2007.

Tea cup with saucer. Instructor Michelle Philip. Course: Drawing Fundamentals. Fall 2007.

Ribbon tied in bow. Instructor Michelle Philip. Course: Drawing Fundamentals. Fall 2007.

Metal candlestick. Instructor Michelle Philip. Course: Drawing Fundamentals. Layered graphite. Fall 2007.

Chair. Instructor Michelle Philip. Course: Drawing Fundamentals. Fall 2007.

Shoe. Instructor Michelle Philip. Course: Drawing Fundamentals. Fall 2007.

Mechanical object. Instructor Michelle Philip. Course: Drawing Fundamentals. Fall 2007.

My Works--Sketches/Work on My Own

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Deliberation. 2006. This was my first attempt at abstract art. It and the following work developed from a series of photos of Jeff and a guide ice climbing on Kennicot glacier during our 2005 trip to Alaska.

Descent. 2006.

Watercolor studies.

Blind contour self-portrait.

Blind contour self-portrait.

From sketchbook.

Amaray Andra Koa. 2005. This was sold at a fund-raising event for New York City's oldest AIDS hospice.

My Works--Repin Academy

St. Petersburg, Russia
July 2006
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I spent the month of July 2006 studying with a group of ten students at the Repin Academy in St. Petersburg, Russia. This was during the white nights, and almost felt like a month of dreaming--dreaming and drawing and painting. The experience in Russia brought me to the realization that all I want to do is be an artist. It is no longer about what I want to do with art--what kind of job I can find to make money using my artistic skills and training--but just that I want to create art for the sake of creating art. And I need to pursue serious study.

In the Russian tradition, these drawings and paintings have been worked on by my instructors--especially drawing instructor Vladimer Alexandravitch--so I cannot claim them as 100% my own.













Private Study with Instructor Alexander Zaitsev
St. Petersburg, Russia

Professor Zaitsev follows a very different philosophy than that of the Repin Academy. He encouraged more freedom, movement, and experimentation. We studied in his studio apartment a few evenings each week. We would leave our drawings and the next time we showed up he had worked on them while we were away--varying quality of line or correcting construction problems. He's do so without the model present, but always seemed to improve our drawings. We did both short sketches and long poses each session.