Tag Archives: Composition

Decisions, Decisions…

After posting the photos of the the first cup and saucer piece, one of you asked if I would talk more about the decisions I made when “framing” it with its Shibori border. What follows are some of the things I was thinking about — and continue to think about as I work on this series.

Two points to keep in mind: a) my goal is to find a way to bring my daily drawing practice and textile work together while celebrating and remaining true to the qualities of each, and b)I never know exactly what will happen until I dive in. Especially in the beginning stages everything is an experiment. I start with an idea, take a shot, see what happens, then go on from there with what I’ve learned.

It Isn’t That Simple      © 2016 Elizabeth Fram

Composition is my number one consideration, regardless of whether an artwork is abstract or representational. I have written before about my inclination to organize my drawings where the image hugs the perimeter of a piece and the subject often moves outside the field of vision. I am also partial to creating breathing room within the overall framework, enhancing a sense of balance and space. My preference is to walk a fine line between presenting a recognizable object while simultaneously pushing toward an abstracted view of shapes and values.

Key Lime Pie

Key Lime Pie      ©2017 Elizabeth Fram

I like to keep in mind that when the subject lies beyond the boundaries of an image, it leaves room for a viewer’s imagination to envision what happens in that unseen space, deepening the “story” by encouraging participation. As a counterbalance, negative space provides a visual rest, an area where subtle stitching can supply interest by dividing the space without overwhelming the image.

It Isn’t That Simple, detail      ©2016 Elizabeth Fram

Figuring out how to frame a composition is just as important as how to crop it. It has to enhance the image, furthering what it has to say without merely becoming an edging on all four sides. Surrounding a stitched image with pattern created via stitched-resist Shibori forges a harmonious blend where both elements work in tandem, rather than one overpowering the other.

CupandSaucerRespite

Respite, in process      ©2017 Elizabeth Fram

For many years my pieces were made with irregular edges, a quality I still find intriguing yet which poses a dilemma when the work will be stretched and framed within a traditional floating frame. Because the Shibori pattern is created by stitching, I have flexibility to manipulate where the pattern will appear, the direction of its flow, where to squeeze in narrow gaps (essentially creating an area of escape from the small rectangular enclosure the cup and saucer fills) and where to open up wider expanses via a color field that pushes toward the outer edge, making a statement of its own.

Morning Musing

Morning Musing, in process     ©2017 Elizabeth Fram

Therefore, what may first appear as a “frame” is actually an essential element of the piece as a whole, serving to ground and engage the stitched image of the cup and saucer within a fully integrated exchange, rather than solely being a vehicle for separating and confining it. In fact, it’s important to remember that the Shibori patterning in these pieces was created first, making it a crucial consideration of the overall composition from the very beginning.

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Many thanks to the reader who asked this question. Writing is a wonderful opportunity to give thought and substance to the ideas that float in the back of one’s mind, but which benefit immeasurably from being articulated. I encourage you to try it with your own work, and please, feel free to ask more questions any time.

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For an intriguing take on presentation/framing, check out the work of Sondra Sherman, a jewelry maker who displays her pieces in the carved-out pages of the books that inspired their creation.

Dancing on the Edge

“Good composition is like a suspension bridge; each line adds strength and takes none away… Making lines run into each other is not composition. There must be motive for the connection. Get the art of controlling the observer – that is composition.”
— Robert Henri

I have been pulling back to basics this fall by concentrating on composition in my sketches. The more I experiment, the more I learn, and I’ve become intrigued by the idea of composing an image where the subject hugs the perimeter of the frame. In doing this, I am discovering that a tension occurs between the concentration of elements at the edges and any expanse of relatively unoccupied space (or large area that relies on an overall pattern).  A heightened sense of abstraction seems to occur as a result, adding another layer to consider — which is a by-product I quite like.

I spent some time hunting for examples of this in the work of several of my favorite artists. Here are a few pieces that caught my attention.

 

Still Life with Letter

Richard Diebenkorn     Still Life with Letter, 1961     Oil on Canvas

Equestrienne

Henri de Toulouse-Lautrec     Equestrienne (At the Cirque Fernando), 1887-88     Oil on Canvas                   I spent a fair amount of time studying this piece at the Art Institute of Chicago last week. If they had offered, I would have gladly brought it home.

Susan Hertel         http://www.susanhertel.com                                                      Susan Hertel, 1930-1993, was a New Mexico artist whose art “embodies what is marvelous in the mundane experiences of life”, a sentiment that resonates strongly with me. She had a menagerie of animals who were frequently the subject of her paintings. In my dog-less state these days, I find particular comfort in her work.

Alone with the Tinkling of Bells

Dorothy Caldwell     Alone with the Tinkling of Bells, 1991     Wax resist and discharged cotton with stitching, applique, gold leaf

Wayne Thiebaud, Delicatessen Counter, 1963:

Wayne Thiebaud     Delicatessen Counter, 1963

I’m sure the reason I’ve found this way of organizing a picture so exciting is due to several things: my natural inclination toward asymmetry, an affinity for Japanese art — where this strategy is common, and the fact that I subscribe to the theory that a piece of art should be acknowledged as a 2-D interpretation, not an attempt to reproduce reality.

I’m including below a couple of examples of my own exploration of this idea.

Sandals

Sandals     ©2015 Elizabeth Fram

Scissors

Scissors     ©2015 Elizabeth Fram

An additional reward is that by incorporating the edges, subject matter that goes beyond the picture plane leaves the viewer with an opportunity to imagine “more”, rather than being presented with a neat package that has nothing further to say. I love the idea of building in another level of significance to a drawing by editing-out rather than adding-on.

How important is composition in the art that grabs your attention? Because I am so interested in design,  it has significant power for me. Do you find that to be true as well — or is it the subject of a piece that first sways you?

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See this post for the simple tool I use to hone in on this discipline.

Recipes for Learning

A by-product of getting ready to cozy-up for the cooler months is my anticipation of getting back to work in the kitchen. Aside from perhaps pie, summer just doesn’t seem to be a time to be excited about cooking. But as we slide into autumn, I look forward pulling down my purple Dutch oven. It’s a pleasure to make use of the garden’s harvest (both my own and that of local farmers) in soups and stews that will hopefully stretch across several meals, allowing me to work later in the studio another day or at least providing an easy future lunch. A friend recently gave us one of his home-raised chickens. It’s waiting in the freezer and is going to become something wonderful.

After Breakfast

After Breakfast     ©2015 Elizabeth Fram

The one treat I purchased and brought home from Montreal earlier in the month was My Paris Kitchen, Stories and Recipes by David Lebovitz. If you also enjoy reading cookbooks and trying recipes that highlight seasonal ingredients that are long on flavor, then this a book for you. Lebovitz is an engaging writer, the photographs are lovely, and it certainly doesn’t hurt that his stories are akin to a mini visit to Paris.

 

Lemon

Lemon     ©2015 Elizabeth Fram

I have been bringing my drawing tools into the kitchen recently, using the utensils and ingredients of whatever I am preparing for self-directed lessons of organizing a picture plane. Richard Diebenkorn’s sketchbooks, mentioned in this post, have been an inspiration in pushing my thoughts about composition.

 

Cabbage and Figs

Cabbage and Figs     ©Elizabeth Fram

If the idea of curling up with a cookbook isn’t exactly your style, try this: Parka Blogs reviews art books, all manner of creative materials / supplies, digital gadgets and also features interviews with a variety of artists…the perfect ingredients and a different kind of recipe for broadening your artistic curiosity.