In what can be described as a mixture of Warhol's Flower Drawing and Nesbitt's Untitled Flower Drawing, Daniella Porras' graphite drawing on paper of a hand and rose has a life-like quality. With superb shading, Porras exhibits a strong foundational understanding of light. The petals are soft and draping, as they are on a real rose. The absence of thorns makes this rose one more apt for holding, as the hand in the piece does wonderfully.
Reminiscent of Joseph Kleitsch's portraiture, Heather Kim brings to life a solitary figure in a dark, dank room. The figure is off-center, bringing the focus away from the subject. Cast shadows give the illusion of imprisonment, while the somber expression on the in-progress face further enhance the depressing environment. This intimate portrait provides an inside look to another world through acrylic paint on canvas.
Drawing, painting, and photographing predominantely from life, portraiture is Emer Quinn’s main subject matter. This close-up portrait turns its nose up (literally and figuratively) at the tradition of historical portraiture. The stoic, solitary model seems to hint at the artist’s desire to break from the norm. Quinn conveys a stubborn, defiant subject, unimpressed with something. Grasping at her high-necked shirt, the figure in the painting is poised and prepared for a confrontation of some sort. The pink and blue acrylic hues, along with the beautiful highlighting and shadows, really bring the figure to life. Quinn’s ability to create depth and dimension are especially evident in the figure’s hands.
See another perspective of this work in-progress here.
Focusing on form and structure, Talia encapsulates the likeness of the tiger. This piece closely resembles a human portrait in style, and the tiger’s eyes show a fierce ferociousness. Each brush stroke borrows from nature to showcase the tigers hairs, spots, and whiskers, a great testament to realistic art. Talia uses acrylic paint on canvas to bring this tiger to life in this figurative portrait. With such beautiful perspective, the tiger almost leaps from the canvas.
These hiking boots were drawn with blue pen, leaving no room to fix a mistake if made. While some may say that sketching a pair of boots and some flowers is easy, this artist would have to disagree. Creating shadows in the boots is not only well thought out by also detailed impeccably.
Can you see the small fine lines in the flower pedals? An older audience may have difficult time seeing just how much detail has gone into this piece but none-the-less it's there, creating a lifelike effect.
The laces look like you could grab them off the page and tie them on your own shoes. Quality artwork such as this is why Delphian School prides itself on its programs.
A three-dimensional piece on a two-dimensional canvas, Isabelle Sichler combines acrylic paint and wire to create a pared-down, rough outline of a female figure. The three dimensions are further enforced by the shadows cast by the wire and the wire’s continuation off the edge of the canvas. The figurative piece provides just enough to the viewer to make out the female features, though enough is also left to the imagination. An unknown subject, the figure hides behind two raised hands, despite a rather revealing “top” painted in a way that nods to synthetic cubism, sans collage.
Other works by Sichler can be found here.
First created in 16th century Japan, the firing technique of Raku ware was first developed by Tanaka Chojiro. Raku can be translated in many ways: pleasure, ease of mind, contentment. The meaning of the word Raku is not to be confused with the technique, however, which is harsh and unforgiving. It is quite literally a trial by fire. Raku requires a rapid rise in temperature in a fuel-fired kiln. This rapid rise in temperature often causes pieces to crack and even explode. Those that survive the kiln are taken out when the glaze has matured and cooled in the open air.
In recent years, the practice of Raku has changed. Now, pieces are often placed in an airtight container (a reduction chamber). The container normally holds a type of paper which, when in contact with the still hundreds-of-degrees-hot pottery, changes the pottery’s coloring. This causes the piece to develop vivid colors, highlighting the cracks. After a short period, the piece is removed and left to cool in the air or sprayed or submerged into cold water.
With Raku, no two pieces are the same. The shock of the severe differences in temperature test the pottery’s strength. Cracks are highly valued, as they are a testament of survival. Here, we see a piece by Kaden Morfopoulos, Delphian alumnus. Though cracks are not apparent, the reduction process has created a riveting pattern in the glaze, captivating the viewer. The symmetry and clean edges provide a finished look. Some of Morfopoulos’ other works, including his ability to capture movement in still photography, can be seen here.
Is this a photograph of art? Or is the photograph art in and of itself?
While this is a photo of art that was created during the Delphian School’s creative public art workshop, the image itself is beautiful! The clay bowls and plates in the photograph create a pattern that make it hard to look away. The element of repetition is a wonderful artistic tool to lead the viewer’s eye across the image. In this particular piece, the pots are aligned into straight lines no matter which direction you follow. This design makes it especially interesting to view.
The colors (or lack thereof) included in this piece are dull which brings more attention to the pattern. Having a background of black and white helps to draw your eye to the tan color of the clay and allows your eye to jump from point to point around the image.
Whether or not the photographer meant to “make art,” we appreciate the beautiful depiction of the pottery that was created during the free art workshop this February.
This beautiful acrylic painting by Delphian student, Maxine Anderson, is a simple yet strong piece that grabs your attention. The bold contrast of black and white bring a starkness to the piece, providing a sense of sobriety. The artist’s meaning behind it is unknown but it could be a representation of many things including the famous photo by John Dominis from the 1968 Summer Olympics.
This painting alludes to the statement gesture of African-American track athletes Tommie Smith and John Carlos who raised their black-gloved fists during their Olympic medal ceremony for the 200-meter dash. This gesture often referred to as a “black power salute” was actually a “human rights salute” as stated by Smith in his autobiography, Silent Gesture. While this political statement was 50 years ago, an expression like that one is not all that foreign to us in 2017. A piece of art like this reminds us to take a stand for human rights, no matter who you are or what the situation is.
Thank you Maxine for the beautiful painting. Whether you meant it to allude to the memorable 1968 event or not, we appreciate its beauty.
Some Delphian students came home with awards in a variety of categories at the Oregon Regional Scholastic Art Awards this last weekend. Eighteen of us won Gold Key awards, which was exciting because at this level we can compete for scholarships!
Kaden Morfopoulos received one of only five American Visionary nominations for his pottery piece submitted in the ceramics and glass category. Kaden's ceramic art is on display at the Lawrence Gallery located in Sheridan, OR, where he is the youngest artist to have ever been featured by the gallery!