New Nikart Works
Nik Maack
Two new paintings for your amusement and bemusement.
Pure Colour:
http://www.nikart.ca/newer/60.html
An experiment in being abstract. I like it, which I suppose is the
important thing. Mani will tell you that it's shit -- probably because
it's not a bunch of naked chicks holding fruit painted realistically in
oils. Or maybe not. Maybe Mani will love it. Who knows?
A friend of mine said "Pure Colour" is "too busy" but that's what I like
about it. That buzz of colour vibrates as your eye is drawn to the
circle. And the circle won't let your eye sit still. So you end up in
the sea of colour again.
Pugs:
http://www.nikart.ca/newer/59.html
Two dogs. Try to figure out which one is the gay dog. This is a
commissioned work that got lost in the mail. How irritating is THAT?
Pretty damn irritating. Remind me to hate the post office in case I forget.
Comments on either of these works are entirely welcome.
keith o'connor (tinmangallery.com
second one you have managed to introduce feminine sexual connotations in the
hip leg area of the small dog on the left. This reminds me of the female
sexual form connotations contained in many 19th century crucifixion figures
of Christ.
I played with a colour sketch of a man dressed as a woman. The sketch
displayed both male and female components. It was meant to agitate the
homophobic types.
It will be interesting to know the responses to your sexual dog. Are you
hinting at a deep rooted sexual taboo concerning human and animal
copulation?
I had not thought of playing with that aspect - interesting.
keith
Nik Maack <nikm...@sympatico.ca> wrote in message
news:3D8C8CA6...@sympatico.ca...
Nik Maack
keith,
> Nik: In the first one I think you are doing the ink blot thing.
The ink blot thing? What do you mean?
http://www.nikart.ca/newer/60.html
It was one of those paintings where rules developed on their own. I
then explored the rules to find out where they went. This lead to a
colourful flow, with a very particular pattern to what colour went
where. Once that was done, the lines demanded reinforcing with pencil.
I acquiesced. Then I spent a week staring at this big colourful sprawl.
That was when the circle showed up, demanding it be included in the
design. I gave in, under the condition that the circle recognize it's
not perfect -- there will be hatchety lines. The circle admitted having
faults, and we got along fine.
And thus the end result.
I don't know if anyone else gets this, looking at it, but for me it's
one of those paintings that's going to stare enigmatically at me for a
long time, trying to figure out who I am.
> In the
> second one you have managed to introduce feminine sexual connotations in the
> hip leg area of the small dog on the left. This reminds me of the female
> sexual form connotations contained in many 19th century crucifixion figures
> of Christ.
This dog painting...
http://www.nikart.ca/newer/59.html
...is based on a photograph that looked pretty much like these two dogs.
I exaggerated the expressions on their faces, although I couldn't tell
you if I did it deliberately or not. The smaller, cross-eyed dog loves
the larger dog. I don't think the larger dog returns the affection, but
tolerates it.
Meanwhile, the smaller dog is coming on to the viewer.
"I'm with this big lug," says the smaller dog, "but I could be with you."
The big dog's expression says, "Yeah, whatever."
Both dogs radiate energy while they sit at the top of the stairs.
Mystic runes cover every surface -- the runes are brought forth by
intense sexual dog powers that are better left undescribed.
> I played with a colour sketch of a man dressed as a woman. The sketch
> displayed both male and female components. It was meant to agitate the
> homophobic types.
Neat. Is it on your website?
> Are you
> hinting at a deep rooted sexual taboo concerning human and animal
> copulation?
Anything is possible. I don't pretend to be in control of what I
create.
The person who commissioned this work gave me many photographs of her
dogs to work from. The photograph I chose to use was one where the dogs
were sprawled in this particular fashion. They were posed, but in such
a strangely natural way -- a way you'd never see human beings pose.
Note that the larger dog's penis is pretty obvious. When I was working
from the photo, I noticed his great big dog dig was jutting out from the
shadows. I couldn't decide whether to include it or ignore it. To
include it was to flirt with something dangerous. To ignore it was to
lie about the relationship between these two dogs.
I decided the dog dick had to be there, for the work to make sense.
keith o'connor (tinmangallery.com
the image is titled ' your seat no. 5 front row"
http://www.tinmangallery.com/Exp/KOC.html
keith
Nik Maack <nikm...@sympatico.ca> wrote in message
news:3D8CE797...@sympatico.ca...
Luna Tuna
>Pugs:
>http://www.nikart.ca/newer/59.html
>
>Two dogs. Try to figure out which one is the gay dog. This is a
>commissioned work that got lost in the mail. How irritating is THAT?
>Pretty damn irritating. Remind me to hate the post office in case I forget.
Did you ever consider that they may have been
impounded at the USA border to search them for
Anthrax virus or some other equally dangerous
virus, considering the nature of the art...???
You mention sending it to someone in Texas.
Right there you have a HUGE problem. People in
Texas recognize longhorn steers, jackalopes,
javelina hogs, horned toads, lizards and
rattlesnakes - but PUG DOGS??? Never!!!
Leigh
"Nik Maack" <nikm...@sympatico.ca> wrote
>
> Two new paintings for your amusement and bemusement.
>
> Pure Colour:
> http://www.nikart.ca/newer/60.html
>
> An experiment in being abstract. I like it, which I suppose is the
> important thing.
>
> A friend of mine said "Pure Colour" is "too busy" but that's what I like
> about it. That buzz of colour vibrates as your eye is drawn to the
> circle. And the circle won't let your eye sit still. So you end up in
> the sea of colour again.
Hey! I like it! My first reaction was to think of the pot holders little
girls make from kits, weaving varied colored materials on a loom. But you've
taken it further... a fine pot holder, but more than that, not a bad
painting.
Nik, it will be interesting to see your work a few years hence, especially
when you've moved on to some 'real' art materials instead of the lazy man's
colored pencil (which is an easy clean up, but hard work to get your
thoughts down!)
>
> Pugs:
> http://www.nikart.ca/newer/59.html
>
> Two dogs. Try to figure out which one is the gay dog.
Nice dogs, sameolesameole technique which will be more interesting in real
paint. But I don't get your inuendo... do I have to?
L.
gaynorgallagher
> The ink blot thing? What do you mean?
he means the Rorschach Inkblot Test
http://skepdic.com/inkblot.html
gaynor
Nik Maack
"keith o'connor (tinmangallery.com" wrote:
> Nik: you are describing the old ink blot test: have you never taken one?
I'm familiar with them, yes. But for me personally, it's the only way I
can describe my art.
I understand that for some, the artistic process is about sitting down,
making plans, plotting an idea and an image, and creating it. For me,
it's far less practical. I start off with an idea, sort of, and my
creative brain takes over, and I end up watching it all happen from a
great distance. The pieces slide into place, and I'm just as surprised
by the end result as anyone else.
In order to figure the sucker out -- if such a thing needs to be done --
I have to guess at it, like I was just another viewer.
You call it "the ink blot test", and I agree, it's somewhat like that.
But frankly, thanks to an intuitive kind of brain, that's what I've got.
> the image is titled ' your seat no. 5 front row"
>
> http://www.tinmangallery.com/Exp/KOC.html
These are very neat drawings. And I love "your seat". It's extremely
menacing and funny. Certain to make normals squirm in their jockeys.
Nik Maack
Leigh wrote:
> Nik, it will be interesting to see your work a few years hence, especially
> when you've moved on to some 'real' art materials instead of the lazy man's
> colored pencil (which is an easy clean up, but hard work to get your
> thoughts down!)
I'm not sure what you mean by "real" art materials. Could you explain that?
I've avoided oils because they stink, they're messy, they take too long
to dry, and they get all over my hands and I can't get them off. That's
based on the one or two experiences I've had with them.
> Nice dogs, sameolesameole technique which will be more interesting in real
> paint.
REAL paint?
> But I don't get your inuendo... do I have to?
Nope. I'm not even sure their is innuendo. But it's nice to think
there is some.
Leigh
"Nik Maack" <nikm...@sympatico.ca> wrote
>
> I'm not sure what you mean by "real" art materials. Could you explain
that?
>
anywhere at all, then you still haven't covered much territory. It's okay
for doodling, I guess, and I get the feeling that's about as serious as you
care to be at this point in time. Makes a good 'journal' of your creative
thoughts.
I assume you've tried and discarded the other stick mediums... no advice
from this corner, just telling you my thoughts.
L.
Nik Maack
Leigh wrote:
> Colored pencil seems so shallow to me. You have to pedal real fast to get
> anywhere at all, then you still haven't covered much territory. It's okay
> for doodling, I guess, and I get the feeling that's about as serious as you
> care to be at this point in time. Makes a good 'journal' of your creative
> thoughts.
I'm not sure I agree with you, but it's an interesting perspective.
What would be a "deep" medium, from your perspective? Could you give a
range of mediums, from most "shallow" to most "deep"?
When I say "coloured pencil" what I actually mean are "art sticks".
They look like sticks of charcoal, but are actually the stuff inside
pencils. I love these suckers, but they're expensive and tend to snap
in half when I press too hard on them.
> I assume you've tried and discarded the other stick mediums...
What other stick mediums are there? I am a lowly uned-u-ma-cated
self-taught artist guy who just grabs whatever looks interesting off the
shelf at the art store.
Nerd Gerl
> Colored pencil seems so shallow to me. You have to pedal real fast to get
> anywhere at all, then you still haven't covered much territory. It's okay
> for doodling, I guess, and I get the feeling that's about as serious as you
> care to be at this point in time. Makes a good 'journal' of your creative
> thoughts.
http://www.cpsa.org/ might change your mind about colored pencils.
I've seen MUCH worse done with every single other medium.
>
> L.
>
===============
Naked Angel Art
http://www.rcip.com/nerdgerl
keith o'connor (tinmangallery.com
the end we both reach a point where a form of improvisational jazz takes
over. You never really know the end until you get there.
keith
Nik Maack <nikm...@sympatico.ca> wrote in message
news:3D8DBF2D...@sympatico.ca...
keith o'connor (tinmangallery.com
DerWent: Signature brand - very expensive - coded to describe the pigment
content and light fastness of each pencil. Pigment codes match up with oil
or acrylic.
The creation of art is not medium dependent but the marketing of art is
medium dependent. Don't mix the two up.
keith
Leigh <le...@nomail.com> wrote in message
news:uorrqll...@corp.supernews.com...
Leigh
>
>
> Leigh wrote:
> > Colored pencil seems so shallow to me. You have to pedal real fast to
get
> > anywhere at all, then you still haven't covered much territory. It's
okay
> > for doodling, I guess, and I get the feeling that's about as serious as
you
> > care to be at this point in time. Makes a good 'journal' of your
creative
> > thoughts.
>
> I'm not sure I agree with you, but it's an interesting perspective.
> What would be a "deep" medium, from your perspective? Could you give a
> range of mediums, from most "shallow" to most "deep"?
No, I couldn't. But of all mediums, I find colored pencil the least
expressive. (Note the use of the pronound "I".)
>
> When I say "coloured pencil" what I actually mean are "art sticks".
> They look like sticks of charcoal, but are actually the stuff inside
> pencils. I love these suckers, but they're expensive and tend to snap
> in half when I press too hard on them.
Mine are Prismacolor and I have two forms, the square crayon and the pencil
as you describe. I sometimes use the larger crayon form for limited mark
making, but having tried them for 100% coloring, they are weak and lack
value control.
>
> > I assume you've tried and discarded the other stick mediums...
>
> What other stick mediums are there? I am a lowly uned-u-ma-cated
> self-taught artist guy who just grabs whatever looks interesting off the
> shelf at the art store.
Pastel, oil-pastels, and oil sticks come to mind. Watersoluable crayons and
pencils are more fun and expressive than the plain old wax based sticks.
Charcoal at least gives a good range of values.
Books have been written on the use of colored pencil. There are many fans
who would rightly defend their use. I'm just being contrary and wondering
why anyone would want to stick with them. Could be that some of us enjoy the
process as much or more than the message. I would be one of the former.
L.
Leigh
"keith o'connor (tinmangallery.com" <scot...@rogers.com>
> Coloured pencils you say:
> DerWent: Signature brand - very expensive - coded to describe the pigment
> content and light fastness of each pencil. Pigment codes match up with oil
> or acrylic.
Your work is much more intense than Nik's. Could be a better product, I
don't know. Nik's stuff looks more like the results I know and dislike
(refering to the surface result, not the artwork itself.)
>
> The creation of art is not medium dependent but the marketing of art is
> medium dependent. Don't mix the two up.
Thank you for your concern that I might mix up the two. I doubt that I
would, but it's kind of you to care.
L.
Leigh
"Nerd Gerl" <nerd...@rcip.com> wrote
>
> I've seen MUCH worse done with every single other medium.
Oh yes! I couldn't agree more.
But I'm not talking about the quality of the artwork, just the strength of
the medium.
L.
Luna Tuna
>Mine are Prismacolor and I have two forms, the square crayon and the pencil
>as you describe. I sometimes use the larger crayon form for limited mark
>making, but having tried them for 100% coloring, they are weak and lack
>value control.
You apparently haven't seen the works that
I've seen, done exclusively in Prismacolor.
In fact it used to be, and may still be, that
a pamphlet of representative artist works
accompanied a box of Prisma's pencils. A
search online on "primacolor painting" or
some such combination will bring up all sorts
of works.
I'm MOST familiar with the "paintings" of
Timothy High, who is a tenured faculty member
at UT Austin. You would have to look closely
at the work or the label to learn that it was
done in Prismacolor - very intense coloring.
Tim taught me how to blend the pencil and
crayons under a heat lamp - the wax melts and
blends. His favorite paper became my favorite
and I've mentioned many times how versatile
Rising Co. "Stonehenge" is. It's an especially
essential element in High's works since he
would otherwise abuse the paper no end. "Stonehenge"
can take the abuse.
Leigh
"Luna Tuna" <lu...@noemailever.com> wrote
> search online on "primacolor painting" or
> some such combination will bring up all sorts
> of works.
If pastels are still referred to as drawings, then so would prismacolor type
mediums.
I appreciate the earnest efforts to convince me otherwise, but I've stated
that mine is a personal opinion and I've seen and appreciated many works
made of colored pencil. I still think it's a high energy, time consuming
medium and not my favorite to express anything beyond colorful drawing
technique. Without full effort, they look like something out of a coloring
book.
> Tim taught me how to blend the pencil and
> crayons under a heat lamp - the wax melts and
> blends.
There's another fun element to add to the mix. I think I'd just go with
encaustics and be done with it.
L.
Thomas Ziorjen
> Leigh <le...@nomail.com> wrote in article <uorrqll...@corp.supernews.com>...
>
> > Colored pencil seems so shallow to me. You have to pedal real fast to get
> > anywhere at all, then you still haven't covered much territory. It's okay
> > for doodling, I guess, and I get the feeling that's about as serious as you
> > care to be at this point in time. Makes a good 'journal' of your creative
> > thoughts.
>
> http://www.cpsa.org/ might change your mind about colored pencils.
>
> I've seen MUCH worse done with every single other medium.
>
It's all so very *tight* though, isn't it? Highly polished, laboured, almost
entirely photorealist... for me it's all very cold, calculated and lacking in
expressiveness.
Thomas
online portfolio:
http://www.user.dccnet.com/thomas_ziorjen
Nerd Gerl
Thomas Ziorjen <thomas_...@NoSPAMdccnet.com> wrote in article
<3D8F4FE6...@NoSPAMdccnet.com>...
> It's all so very *tight* though, isn't it? Highly polished, laboured, almost
> entirely photorealist... for me it's all very cold, calculated and lacking in
> expressiveness.
>
> Thomas
>
> online portfolio:
> http://www.user.dccnet.com/thomas_ziorjen
>
===============
Thomas Ziorjen
> Some people like it tight. LOL
Well sure, and then pencil crayon might be the perfect medium for them -- my
point, I guess, was that the medium seems to encourage very tight work, and if
that's not the sort of thing you want to be doing maybe pencil crayon is not for
you.
There is an interesting medium lies between pencil crayon and pastel: pastel
pencils. They would be well suited to people who want to work on a smaller scale,
but get the saturated colour of pastel, without the labour needed in pencil crayon.
Here's an example from my work of pastel pencil used expressively on a small scale:
http://www.user.dccnet.com/thomas_ziorjen/EarlierWork_pages/UnderwaterSwimr.html
Nerd Gerl
have been rendered with colored pencil. Now, I assume your argument
below is based on "saturation of color"? And you claim that saturation
can not be achieved with colored pencil - correct? (If not, apologies
in advance.)
Color saturation with colored pencil is achieved by a number of ways.
My favorite way is called "burnishing". Other ways are by using
turpentine (even water for powder based pencils) and a brush,
scrubbing (which is just a fancy term for rubbing the colors in
together. Hell, the mere friction of rubbing pencil to paper creates
sufficient heat to melt and saturate colors together - provided a wax
based colored pencil is used. Oh yeah, and rubbing an area with your
good 'ol finger works too.
Lack of "saturation of color" is not a fault of any medium (imo) - but
the artist, instead.
Now I think I understand that perhaps you are complaining about the
lack of "flow" and "gracefulness" (as opposed to color saturation) in
colored pencil works? These things are design principles, and not
medium qualities, no?
===============
Naked Angel Art
http://www.rcip.com/nerdgerl
Thomas Ziorjen <thomas_...@NoSPAMdccnet.com> wrote in article
<3D8F7E97...@NoSPAMdccnet.com>...
> Well sure, and then pencil crayon might be the perfect medium for them -- my
> point, I guess, was that the medium seems to encourage very tight work, and if
> that's not the sort of thing you want to be doing maybe pencil crayon is not for
> you.
>
> There is an interesting medium lies between pencil crayon and pastel: pastel
> pencils. They would be well suited to people who want to work on a smaller scale,
> but get the saturated colour of pastel, without the labour needed in pencil crayon.
>
> Here's an example from my work of pastel pencil used expressively on a small scale:
>
> http://www.user.dccnet.com/thomas_ziorjen/EarlierWork_pages/UnderwaterSwimr.html
>
>