Now that the first semester of grad school here in New York is over, I’ve finally had time to catch up on sleep, see friends, and take some art requests.
A friend of mine is doing the dreaded ‘moving in New York’ thing and asked me to create a few small pieces for a gallery in her new space. She already had a beautiful black and white photograph and lovely botanical print that she wanted me to work around. Therefore, I stuck to a black and white palate with pops of green.
I don’t know about you, but when someone says ‘just make something, anything!’ rather than have a creative explosion, I usually feel like a deer caught in artistic-freedom headlights. Anything!?
I started with a free draw with pastels on vellum. At first I had it facing the other way, and hated it. It looked like a big egg. Or maybe a dancer with arms held 5th en haute. Do I see ballet in everything?
So then I turned it as it is here, and I liked the teardrop shape, which I used in the solo female’s skirt (pencil and watercolor on vellum) .
From there, I wanted to try that shape as a pattern, and it turned into this little corps de ballet of watercolor and chalk on card stock. When the light hits it, it has a lovely ethereal quality and the formation reminded me of Giselle act 2. So, for the last small pencil and shapree piece, I went very literal with a rendition of the Act 2 pas de deux.
I think the dark shape, extending towards the right side of the paper, circled by the vibrant green looks like the ghostly Giselle being supported by her living breathing partner, Albrecht. I used this gorgeous photo of Cynthia Gregory and Fernando Bujones in American Ballet Theatre’s 1979 production.
I love the transformation from abstract to concrete. It’s a fun way of tackling the ‘make something’ dilemma, which of course, is a good problem to have. Now to format and frame!
Limited number of prints available. Contact Jess at email@example.com for pricing / sizing.