UNMDrawingIIIfall2018GALVEZ

Luis Martinez Drawing III September 21, 2018 Erin Galvez JOEL DANIEL PHILLIPS               “A true portrait is far more than a rendering of physical form—it is the capturing of the vulnerable, un-invented narratives that make us human. Seeing and understanding these is my ultimate goal.” Joel Daniel Phillips is an artist that lives and works in San Francisco, California. His main body of work constitutes portraitures of the local residents, particularly of the disenfranchised. The following three pieces presented are from his collection of “No Regrets in Life” of which consist of more than sixty life size drawings. From an observer’s point of view standing near these drawings will give the impression of having a real intimate conversation with the subject. This of course is by no means an accident as the artist seems intent on forcing the viewer to meet the gaze of the person portrayed. While the effectiveness of this strategy is sustained on the sheer real-life-size of

Drawing III September 21 st , 2018 Samantha Chilelli Mark Powell             Mark Powell is a ball point pen artist from London. He focuses mostly on making large portraits and even sometimes birds on different types of antique documents. The portrait below shows the image of an older man in black ball point pen. It is placed on national geographic prints from new papers. He tends to mostly paint older people and it appears very well on the papers he chooses. He also pays a lot of detail to the emotions he is trying to depict. The prints he chooses bring a sense of history to his drawings. Mark says “A face that is devoid of a clear emotion gives an ambiguity that is simple and intriguing, it shows the signs in scars of travel and an uncontrolled gaze; a life lived. The canvas of vintage envelopes holds the same qualities, travel scarred and mysterious.” When asked about why he uses vintage documents as his canvas he says “If there’s a headline I want to know a general idea o

Guy Denning was born in Somerset, England in 1965. He is a self-taught drawer and painter now based in France. He started drawing as a child and painting as a child, but had no luck being accepted into art programs for college. In 1980 he discovered the music of bands like CRASS The Dead Kennedys, and Poison Girls, and from then associated himself with the “second wave of punk” and began working with street art. His work was criticized by art schools that he applied to for being to figurative and his political statements were too literal, but despite these comments Denning continued to move his art in his own direction, being inspired by graffiti and “Stencil text aesthetic.” His drawing   typically depicts portraits or human figures and is  mostly done in Black and white charcoal on toned paper and other toned found materials. His work is very emotionally charged due to the intense high light and shadow he used to produce his art as well as speed you can feel in his lines. In the w

Maureen Doherty Drawing III September 21, 2018 Irvin Tepper             IOn a basic formal level, Tepper created a set of drawings and porcelain sculptures of tea and coffee cups. The drawings stand-alone from the sculptural peace’s rather than being preliminary sketches, which is why this is a relevant discussion in the discord of drawing. The cups are done in black and white, usually in grids to be the most precise version of the real life object.             Tepper studied under Ken Ferguson in the Kansas City Art Institute. The focus of Ferguson was the classic Japanese understanding of ceramics. The idea of purposeful imperfection was one that penetrates the art of Tepper to its core. Tepper chose to draw his first cup due to its crooked handle. When asked Tepper said, “The fact that the handle was put on crooked made it even greater to me, because it gave it the human element.” Initially, the dialogue between the industrial design of ceramics and the handmade a

Maureen Doherty Drawing III September 21, 2018 Mariko Mori             Mariko Mori’s primary focus in the art world is her large exhibit spaces. One that is of particular interest is her “Dream Temple” which was displayed in Tokyo in 1999. The exhibit, as does most of Mori’s work, holds a utopian, space age, meditative quantity to the work. When asked about this meditative state Mori said “Working with these traditions isn’t about what is true or what is right—it’s about introducing a perception of how we look at our world. When I started to look at the world in depth, I saw the connections, that, yes, we are all one whole, part of nature, and I think it’s quite important to become aware of that at this moment.” The clean soft lines, pastel color palettes, and ties to Buddhist philosophy helps with this impression.        Mori uses drawing as a tool to process her visions and find inspiration. While many of her drawings have no equivalence in her actual work, the