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By gavin, May 14, 2012 8:28 am

The essence of creativity is inspiration. To be inspired by something means you give your entire being over to the sentient processes there before you, and a calling to a higher ideal transforms through thought into action – if action is taken. Inspiration drives the creative to do many things, most of which will never see the light of day — but all combine to create a unified existence of purpose within an artist. The projects or ideas that do surface gracefully, with no struggle  - into the field of activity, and reveal themselves to be charged with life and inspired – are the works we see in museums, portfolios and galleries. It is within the days of creating things out of habit and a foresight to future positive outcome will push better work forward. It is not in thinking that this occurs, rather in the doing and observation of craft.

I create art to feel the process of evolution. It expands my thought processes to include aspects of the ethereal and brings forth a joining of inner clarity and social outward awareness. I am too aware of this, and so I find myself addicted to finding this state of Nirvana through creating either paintings, drawings or music. In this field of activity I am more at home and enjoy life much deeper, than if I did not correlate the two worlds.

‘Darwin’ by Gavin Spielman

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By gavin, May 10, 2012 11:16 pm

Hey!

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By gavin, May 10, 2012 6:06 pm

I finished teaching my class today – I am going to miss those kids (adults). I feel I was able to connect with each one individually as well as a group – and for this I am grateful. Age and experience have their benefits, especially when teaching something like fine art.

I love painting and drawing more than most things in life. More than just about anything, actually. It is only when I am either painting, drawing or composing a song ( or performing, meditation too) when I experience an out of body, time loss feeling. I love this feeling. It connects me to everything and everyone, and I see how important information is – to be able to be one pointed about things, to live with passion and understand everybody is on their own trip – is the key to social living.

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By gavin, April 4, 2012 11:33 pm

Highline Drawing

We will meet IN CLASS and critique the final thumbnail sketches and go over proposals in the first hour. We will then go outside and walk to the Highline on 14th St. and 10th Ave. We will be drawing for the afternoon so bring water, food and supplies.

Here is the handout. I will have it printed for you tomorrow.

Gustave Caillebotte

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By gavin, March 26, 2012 10:43 am

Studio March 2012

Under-painting of Rick C.

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By gavin, March 22, 2012 9:44 am

http://www.youtube.com/watch?v=udf__LzefNY

This underpainting took several hours to develop. I use a ground of Old Holland Olive Green mixed with Cad Orange and a hint of turp, and oil.

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By gavin, February 16, 2012 10:49 am

Corot

Class 1 - Intro and Portraiture

Class 2 - Drawing from the Model, Perspective

Class 3 - Museum Trip

Class 4  - Perspective and Grids

Class 5- Drawing the model in motion/Negative Space

Class #6 – Drawing the model in their environment.

Class #7 – Metropolitan Museum Visit

Class #8 – In Class Work Catching Up. BRING ALL WORK!!!

Rodin Drawing Dancers

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By gavin, February 14, 2012 8:15 pm

I use a ground of olive green and orange, to make mud – this I use to create the underpainting/drawing. My pallet is a mess, it is usually quite clean – but I wanted to show what I was working with as I go.

I block in the composition first, in this case I create a box within a box – as I had no time to stretch a new canvas, and thought it interesting to create something in this manner.

I know what I am looking for when I paint, and usually don’t search too long if the composition needs adjusting. Composition is the key component in creating a balance worth keeping.

At this point I am drawing with tone, blocking in large areas or values, comparing and contrasting as I go. I don’t go for temperature as it relates to tone at this point, I am only interested in the composition and how the profile relates to the edge interestingly.

Now I start to alter the values through the use of hues, or white paint. The blue in the white offsets the umber feeling the mud created. It is not apparent, as I want to reserve putting on layers of more effective skin tone value for a later day.

I alter the chroma, drawing and contrast in order to find more interest to keep moving with this painting.

Blocking in the large background area.

The photo below shows the scale of the piece, from about 20 feet back.

Stay tuned for updates!

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By gavin, January 30, 2012 10:06 pm

I started this painting several times – on different canvases – finally settling on a square format, which I feel works successfully for the subject. I am mainly focus on tone at this point, having taken some time to alter the drawing before this stage. It did not look so accurate as to my reference for a while. I sit and meditate on what needs to be done, trying all the while not to identify with the work at hand.

I am a painter, and this is the work I do. I expect it to always come out somewhat close to my vision, and the arrival  does not excite me nearly as much as the journey. I enjoy the realism and truth behind tonality, the understanding of my calling – and the essential elements that go into me working in this field. I fake reality. Master of Reality!

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By gavin, January 28, 2012 1:28 am

Jean-Baptiste-Cammile-Corot

Florence