ddrees art

My art work and thoughts

2010 in review

Posted by ddrees on January 6, 2011

The stats helper monkeys at WordPress.com mulled over how this blog did in 2010, and here’s a high level summary of its overall blog health:

Healthy blog!

The Blog-Health-o-Meter™ reads Fresher than ever.

Crunchy numbers

 

The average container ship can carry about 4,500 containers. This blog was viewed about 21,000 times in 2010. If each view were a shipping container, your blog would have filled about 5 fully loaded ships.

In 2010, there was 1 new post, growing the total archive of this blog to 19 posts. There were 10 pictures uploaded, taking up a total of 3mb. That’s about a picture per month.

The busiest day of the year was September 27th with 146 views. The most popular post that day was Op Art using line sets in Adobe Illustrator.

Where did they come from?

The top referring sites in 2010 were facebook.com, flickr.com, search.aol.com, dreesspring09.wordpress.com, and dreesspring10.wordpress.com.

Some visitors came searching, mostly for bridget riley, op art, charles burchfield, bridget riley op art, and albert pinkham ryder.

Attractions in 2010

These are the posts and pages that got the most views in 2010.

1

Op Art using line sets in Adobe Illustrator August 2008
7 comments

2

Procedural art, my computer graphics history and op art in Adobe Illustrator August 2008

3

sun moon stars rain August 2008
2 comments

4

Adobe Illustrator CS4 Wow! Book is out July 2009

5

Ninety Years Old July 2009
2 comments

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Confluence of Influence Faculty Show 2010

Posted by ddrees on August 1, 2010

Our upcoming faculty show is themed Confluence of Influence. The concept is that we reflect on our strongest artist influences and write about how these are manifested in the works shown.  The show shall be up in the Catonsville Gallery at CCBCMD from August 30 to September 24.

Here is my influence statement, just submitted.

Lots of artists will tell you their best ideas came from beyond, were given. But I need the precious commodities of time and quiet spaces to bring the inspirations to fruition. I do a lot of slow synthesizing. Among my most important influences in the language of image making are Charles Burchfield, William Blake, Rembrandt Van Rijn and Arnold Bittleman. These fellows provide a tradition of notation that can be built upon to maintain meaning.

We are stuck in our bodies but we make trips to transcendent places all the time. We need to reaffirm this and put it in perspective as four-fold vision in works of art, as Blake said, “An eternity in a grain of sand”.  The transcendent is embedded in the actual in works of art.

William Blake’s classical archetypal figures all signify our identity. He embodies multilevel meaning from the particular of the streets of London to the eternal. My Dad quoted “The Tyger “ to me when I was a little child, which made me sit up and take notice. Blake connected verbal and visual as well as anyone ever has.

William Blake from Songs of Innocence and Experience

William Blake from Songs of Innocence and Experience

I saw and was influenced by Charles Burchfield at an early age. His evocative art was a personal inward response to creatures, sounds, weather and temperature of everyday life. His perceptions in the moment with total awareness allowed the connections to the vibrations of the universe to happen.

Charles Burchfield

Charles Burchfield

My college drawing teacher Arnold Bittleman took reality and observation and rendered it with a meaningful line system and a respect for the mark as the creative instant. He synthesized the aesthetics of the West and the East.

Arnold Bittleman Untitled

Arnold Bittleman Untitled

Rembrandt’s inner feelings and introspection were backed up by compositional choices, as in “David and Saul”. He used light to direct the viewer’s gaze and color and texture to set an introspective mood. Yet he worked “naar het leven” so the transcendent and real are connected.

Rembrandt, Saul and David, 1655-60, Mauritshuis, The Hague

Rembrandt, Saul and David, 1655-60, Mauritshuis, The Hague

My short artist’s statement is here. I need to update it sometime soon.

I want to make art that is beautiful, that addresses the viewer’s spiritual needs. Perhaps that is my role—to try to get people to look at the sublime and the beautiful again. I want to create works that show, as Blake said, ‘an infinity in a grain of sand.’ I like the idea of an art that is multi-cultural and multidirectional, connecting then and now, here and there, them, and us into images that show the transitional forms that bind. The more the artist can put into the work as potential meaning, the more the viewer will be able to connect with, no matter where or when.

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Trees replaced

Posted by ddrees on August 9, 2009

I inadvertently discarded this post from last August. So here it is back again unchanged except for order in time.

Trees and leaves are among my favorite image subjects. Trees loom large in my legend as well as on their own accord.  I just uploaded thirty tree art pictures to Flickr and I have more to add. (tree art set) I have tons of tree photos as well. Often on our trips (my husband Dana Fisher and me) we seek out famous trees to photograph. I have photos of some that are no longer with us, like the Liberty Tree in Annapolis. We are long time tree huggers and planters. Some of the trees we have planted have reached great heights. The tree photo set will take some time organizing.

The Beech tree in this watercolor is on the grounds at Hampton Mansion. We first spied it while scouting sites to take my summer landscape class years ago. I was delighted when my favorite all time colleague at CCBC, Ray Quigley, no longer with us, bought it. I like to think of it giving him pleasure.

Beech Tree, 3,2,1 other ©D Drees 1987

Beech Tree, 3,2,1 other ©D Drees 1987

This Beech tree and Yew are in back of the Hilton Mansion at CCBC Catonsville. I started a few offspring from blowbys of that yew but they are very slow growing. But what a great Yew it is.

Beech Tree and Yew © D Drees 1989

Beech Tree and Yew © D Drees 1989

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