We visited Steve Hedburg's exhibition "Full Circle" and Charlotte Culot's exhibition "A Pulsing Heart, Paradise is Now." Hedburg's gallery combined abstraction and realism by incorporating unreal shapes and colors into landscape paintings. He used underpainting, thin layers, and scumbling to create translucent patterns of color and the feeling of depth and energy. He also took care to frame his paintings by painting the sides of the canvases and placing them in frames that best emphasize the energy and feeling of the colors.
Culot also used layering, but in a very different way. While Hedburg used it to create translucent colors and many overlapping tones, Culot used it to create bold contrasts and differences. However, she often incorporated subtle color changes as well. She also let the paper show through in many works. The straightforward colors she chose typically came from one region of the color wheel, with little variation. She tended to use cheap, everyday materials rather than expensive canvas. Her use of multiple textures allowed for a three-dimensional surface, making the works look different from certain angles.
I only really liked the first gallery, to be honest. I loved the textural painting style and the bright splotches of color. It really had a lot of energy. I would like to someday figure out how to choose and capture the right colors so they have vibrant energy but don't clash. I might try to incorporate those thin layers of color that he puts over the scenery, because I really liked it.
Culot's work didn't really do anything for me. I gained a bit of appreciation for it once looking closer and seeing the details and subtleties in it, but I still don't really like it that much. The idea of wax resist sounds interesting though, and I'd like to try it out someday to create those subtle variations off color. I'm interested as to how you can hide designs in a piece with those slight changes.
Kristin Hines - Student artist at Maggie L. Walker Governor's School