Leslie | SIS I '13

It is fascinating to see the maturation of a student's work in the course of a four-week intensive. Here an eclectic mix of lines extends from Leslie's figurative gestures to the delineation of an envisioned coastline. 

The lustrous surface on a piece of slag (such as the one pictured) goes further to engulf her terrain. Strong diagonals meld with values - invoking greater depth - even as its jagged edge seemingly continues along a road's circuitous route.

"My most recent painting series was inspired by themes of existence and nonexistence. Influenced by my own experience of great tragedy caused by a natural disaster, I was drawn to the artistic expression of a fleeting and diminishing existence. Having grown up on the southern coast of Louisiana, I have a great appreciation for the wetlands and their unique habitat. Through the exploration of such themes in my art, I have come to the realization that my fascination with the strictly visual components of the wetlands may be linked to their significance in protecting the delicate areas around them. By acting as a sponge and obtaining water, the wetlands prevent flooding and purify the surface water. Furthermore, this series focused on the lines and shapes seen in aerial views of landscapes. 

Throughout the duration of this course my way of approaching my work has changed dramatically. My subject no longer intimidates me. I have built up more confidence in my loose handwork, while simultaneously becoming more aware of the composition. As I gravitate further towards the expressiveness in my work, I have been able to let go of my desire to have complete control. Oil paint allows me to be expressive and free with line, texture and color. I have been experimenting with use of dry brush, giving my lines texture and adding depth by exposing the maps underneath the paint." 

                                                                                    -Leslie Williamson, Parsons 2013 

nature's influence

A few semesters back, I brought in rocks - more specifically slag - found along a creek bed in upstate New York. Eye catching, smooth and jagged, slag is the runoff during the smelting or refining of ore. Meant to inspire the students' sketches, a written paragraph was assigned to better amplify their senses. 

  Cold, hard, sleek and smooth in parts, but textured and rough in others; examples of a perfect juxtaposition, what we strive to achieve in the best designs.  The most gorgeous variations of blues, turquoise blending into soft cerulean with striations of light aqua and maps of indigo; irregular, yet perfect color patterns offset by islands of neutral matte grays.  Light enough to be easily carried, but substantial enough to notice the weight, its size perfectly fits in the palm of my hand when I wrap my fingers around to secure it.  It has no distinct taste, but is cold and slightly metallic with undertones of the cucumber basil soap that I washed it with. 

  It reminds me of the view of earth from the sky, the blue portions representations of water and the gray a sort of earth.  I chose it because the colors and textures spoke to me.  I think it would be a gorgeous textile or wallpaper.  I love that you can see sparkles when the light hits it in specific parts of the matte gray stone.  I see furniture and buildings in its shape and outlines of space planning for site plans.  I find the words describing this are setting forth a passion for what I will use it to create.  - Kristen B.

On a similar note, the architect and sculptor, Maya Lin, wrote in her book, Boundaries, "I begin by imagining an artwork verbally". 

For her design of the Vietnam War Memorial in Washington DC, soft pastel sketches were accompanied by a winning description - so aptly engaging the senses:

Walking through this park-like area, the memorial appears as a rift in the earth - a long, polished black stone wall, emerging from and receding into the earth. Approaching the memorial, the ground slopes gently downward, and the low walls emerging on either side, growing out of the earth, extend and converge at a point below and ahead. Walking into the grassy site contained by the walls of this memorial, we can barely make out the carved names upon the memorial's walls. These names, seemingly infinite in number, convey the sense of overwhelming numbers, while unifying these individuals into a whole...