I spent a good deal of time making sketches of ideas for my final image. The practice of "stream of conscious" sketching helps me solve the problem of having too many ideas. This step allows me to explore all creative avenues before committing to an image. At first, the restriction of "no religious symbols" was a challenge. After brainstorming images that represent transformation and community, I kept coming back to the image of hands.
Hands can help, heal, bless, build, tear down, harm. They help us communicate with each other, and when folded together on our lap, or stretched out to the sky as an offering, they help us communicate with God. In my painting's foreground, a child's hand rests in the palm of a larger, adult hand. In the background, colorful circles overlap creating abstract linear patterns. To me, this simple image represents what I have learned in the Arts for Community Transformation class.
The presence of two hands represents the notion that a community cannot exist with just one person. Community transformation also cannot occur by a single pair of hands, rather many sets of willing hands are needed. Listening, collaborating, sharing, and problem solving must occur within the context of a group that is united for a common goal. The circles represent the people and places that define a community. Often their efforts overlap. Just as circles are an integral part of my painting's composition, the schools, churches, non-profits, leaders and individuals (who are represented as circles) are necessary as to the health of the community.
The background of the painting aims to depict colored stained glass. Although typically found within religious buildings and sanctuaries, stained glass does not necessarily have to be housed within a sacred structure, however, I feel stained glass has spiritual significance. The light that filters through the colorful glass chards represents hope that is inherent in transformation. Without light, stained glass is dark and unremarkable. It is only when light filters through the glass that once can see the rainbow palette and unique patterns and forms in the design. Hope is the light that shines on our communities. Hope eliminates the darkness and reveals the path to transformation.
It is always a tedious process for me to choose what materials I will use for an artwork when I have an idea. With so many choices to make even before paint is applied to a surface, I carefully consider what subtle characteristics I want my final piece to embody. I chose watercolor as my medium because it has luminous quality. It is not opaque and can be watered down into thin, saturated washes. The bright white of the watercolor paper makes the pigments shine more than an opaque paint would, such as acrylic. I used black India ink to paint the shape outlines instead of watercolor because I wanted a strong, dark black to heighten the contrast of light and dark. In real stained glass, the dark that contrasts the colored glass are strips of lead that block light from filtering through.
I find it hard, at times, to know when an artwork is "finished." I knew I wanted to keep this piece simple so it was truly reminiscent of stained glass. Due to the rigid nature of the materials, stained glass work is usually free of details. After the black contour lines had been painted in, I was satisfied with the outcome and felt the piece was complete.
Hands can help, heal, bless, build, tear down, harm. They help us communicate with each other, and when folded together on our lap, or stretched out to the sky as an offering, they help us communicate with God. In my painting's foreground, a child's hand rests in the palm of a larger, adult hand. In the background, colorful circles overlap creating abstract linear patterns. To me, this simple image represents what I have learned in the Arts for Community Transformation class.
The presence of two hands represents the notion that a community cannot exist with just one person. Community transformation also cannot occur by a single pair of hands, rather many sets of willing hands are needed. Listening, collaborating, sharing, and problem solving must occur within the context of a group that is united for a common goal. The circles represent the people and places that define a community. Often their efforts overlap. Just as circles are an integral part of my painting's composition, the schools, churches, non-profits, leaders and individuals (who are represented as circles) are necessary as to the health of the community.
The background of the painting aims to depict colored stained glass. Although typically found within religious buildings and sanctuaries, stained glass does not necessarily have to be housed within a sacred structure, however, I feel stained glass has spiritual significance. The light that filters through the colorful glass chards represents hope that is inherent in transformation. Without light, stained glass is dark and unremarkable. It is only when light filters through the glass that once can see the rainbow palette and unique patterns and forms in the design. Hope is the light that shines on our communities. Hope eliminates the darkness and reveals the path to transformation.
It is always a tedious process for me to choose what materials I will use for an artwork when I have an idea. With so many choices to make even before paint is applied to a surface, I carefully consider what subtle characteristics I want my final piece to embody. I chose watercolor as my medium because it has luminous quality. It is not opaque and can be watered down into thin, saturated washes. The bright white of the watercolor paper makes the pigments shine more than an opaque paint would, such as acrylic. I used black India ink to paint the shape outlines instead of watercolor because I wanted a strong, dark black to heighten the contrast of light and dark. In real stained glass, the dark that contrasts the colored glass are strips of lead that block light from filtering through.
I find it hard, at times, to know when an artwork is "finished." I knew I wanted to keep this piece simple so it was truly reminiscent of stained glass. Due to the rigid nature of the materials, stained glass work is usually free of details. After the black contour lines had been painted in, I was satisfied with the outcome and felt the piece was complete.