Julia Hendrickson
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Tiny Feathers

1/30/2015

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Tiny Feathers is available on society6. I can't decide whether it is feathers or snake skin so let me know in the comments which it reminds you of. 
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Work Evaluation

1/29/2015

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I have moved my technology desk this week & in the process of weeding out discovered many wonderful things. Among them this painting. Which I remember painting a few years ago & being disappointed with, but filing away because I have a strict five year evaluation policy. I keep work for five years & then if I wouldn't be mortified by its appearance in a retrospective or see that I am still pursuing a similar idea, I keep it. Otherwise it gets chucked. While I still see the things that bothered me I also see some of the merits of this image. It will stick around for a few more years to see if it truly passes muster... Let me know how you evaluate your work in the comments. 
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Emily Garfield

1/28/2015

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Emily Garfield paints wonderful imaginary maps. They are mashups of memory, cell structure & personal experience. These paintings are an excellent counterpoint to the precision of GPS laden imagery we are presented with daily. The subversive whimsy of this work is delightful. Emily's website is a treasure trove of images & concepts, her etsy stocked with lovely prints & drawings (lots of good Valentine's over there y'all), while her instagram & twitter will keep you up to date on her latest happenings. Peruse her #PaletteProject responses below & then go get lost in the cartographic world of Emily. I highly recommend it. 
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What color do you wish wasn't there?
I ended up using all the colors but I did have trouble with the small bit of turquoise that's on there. I don't tend to go for bright colors, but it did add interest in some of the drawings I did.

What is your favorite brush?
I generally get relatively inexpensive brushes from Blick. I try to take care of them, but it helps me not be so precious if I know I can easily replace them.

What is your favorite paper/surface to paint on?
I work almost exclusively on watercolor paper. 

What is your favorite color to work with? 
I end up with a lot of blues and greens because my drawings are generally maplike, but I actually don't like blue. Lately I've been into brown and navy/indigo. 

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The Snow Storm

1/27/2015

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BY RALPH WALDO EMERSON

Announced by all the trumpets of the sky,
Arrives the snow, and, driving o'er the fields,
Seems nowhere to alight: the whited air
Hides hills and woods, the river, and the heaven,
And veils the farm-house at the garden's end.
The sled and traveller stopped, the courier's feet
Delayed, all friends shut out, the housemates sit
Around the radiant fireplace, enclosed
In a tumultuous privacy of storm.

Come see the north wind's masonry.
Out of an unseen quarry evermore
Furnished with tile, the fierce artificer
Curves his white bastions with projected roof
Round every windward stake, or tree, or door.
Speeding, the myriad-handed, his wild work
So fanciful, so savage, nought cares he
For number or proportion. Mockingly,
On coop or kennel he hangs Parian wreaths;
A swan-like form invests the hidden thorn;
Fills up the farmer's lane from wall to wall,
Maugre the farmer's sighs; and, at the gate,
A tapering turret overtops the work.
And when his hours are numbered, and the world
Is all his own, retiring, as he were not,
Leaves, when the sun appears, astonished Art
To mimic in slow structures, stone by stone,
Built in an age, the mad wind's night-work,
The frolic architecture of the snow.
"In the tumultuous privacy of the storm..." Such language! Love it! Do you have a favorite phrase in this poem? Please share it in the comments. 
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More Flowers

1/26/2015

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The camellias are too beautiful right now to not be documented. Despite cooler temperatures they are thriving. I do not know if I will ever become accustomed to flowers in the winter, but I am thankful for them. 





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Maybe Peaches, Darling?

1/23/2015

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This pattern is in two colorways. The top warm toned is called, "Maybe peaches, darling?" the bottom cool toned is called, "Sailing the sea to meet you." Both are available on society6 & today there is free shipping worldwide. If you want to continue registering your opinion about yesterday's jellyfish pattern I will tally the votes on Monday. 
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Jellyfish

1/22/2015

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cobalt
This started as a painting with Dr. Ph. Martins Radiant Watercolours, but morphed into a photoshop experiment. Let me know which background color you prefer & I will upload that version to society6: cobalt (pictured above), mustard (bottom left), or midnight (bottom right). 
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midnight
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Laurent Moreau

1/21/2015

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I love Laurent's work. The flat primitive elements combined with excellent color  yields dynamic images. The subtle details he adds make each image a wonderful surprise to explore. I strongly recommend checking out his website & his blog for further delights.
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What color do you wish wasn't there?
I'd like to say the purple. I tried to use this color on my illustrations but it was not very successful…
What is your favorite brush?
I like to use differents shapes of brushes. Small and big sizes. But I like to draw with brush, so I prefer smallest brush.
What is your favorite paper/surface to paint on?
On paper for the moment! I make illustrations for books or prints, so I prefer to work on similar surface like the final result.
What is your favorite color to work with?
I love the red. It's the color of blood, love, emotion… And I can paint many different elements with the red : human skin, flower, tree, clothes…
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Agnes Martin

1/20/2015

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The Horizontal Line
(An Hommage to Agnes Martin)
By Edward Hirsch 

It was like a white sail in the early morning

It was like a tremulous wind calming itself
After a night on the thunderous sea

The exhausted lightning lay down on its side
And slept on a bed of cumulous sheets

She came out of the mountains
And surrendered to the expansiveness of a plain

She underlined a text in Isaiah:
Make level in the desert
A highway for our God
Every valley shall be exalted
And every mountain and hill shall be made low


The mountain grew tired of striving upward
And longed to flatten its ragged peaks

The nostalgia of a cathedral for the open plain

The nostalgia of a soprano for plainsong

I know a woman who slept on a cot
And sailed over the abyss on a wooden plank

She looked as far as the eye can see
But the eye is a circle—poor pupil--
And the universe curved

It was like a pause on the Bridge of Sighs
An instant before the storm
Or the moment afterward

My friend listened to Gregorian chants
On the car radio as he raced down
A two-lane highway in southern France

I remember riding a bicycle very fast
On a country road where the yellow line
Quivered ever so slightly in the sun

The faint tremor in my father's hand
When he signed his name after the stroke

The beauty of an imperfection

An almost empty canvas turned on its side
A zip that forever changed its mind

From its first pointed stroke
To its last brush with meaning
The glow of the line was spiritual

How the childlike pencil went for a walk
And came home skipping

It was like lying down at dusk to rest
On the cool pavement under the car
After a blistering day in the desert

The beaded evanescence of the summer heat

The horizon was a glimmering blue band
A luminous streamer in the distance

I recited, Brightness falls from the air
And the line suddenly whisked me away

No chapel is more breathtaking
Than the one that has been retrieved
On the horizon of memory

She remembered the stillness of a pool
Before the swimmers entered the water
And the colorful ropes dividing the lanes

Each swimmer was a scar in the blue mist

Invisible bird,
Whistle me up from the dark on a bright branch

It's not the low murmur of your voice
Almost breaking over the phone
But the thin wire of grief
The hum of joy that connects us

Sacred dream of geometry,
Ruler and protractor, temper my anguish,
Untrouble my mind

Heartbeat, steady my hand

Each year she crossed a line
Through the front page of a fresh diary
And vowed to live above the line

She would not line up with others
She would align herself with the simple truth

She erased every line in her notebook but one
Farewell to the aspirations of the vertical
The ecstasies of the diagonal
The suffering cross

Someone left a prayer book open in the rain
And the printed lines blurred
Ink smudged our fingers when we prayed

Let every line be its own revelation

The line in the painting was surrounded by light
The light in the painting held its breath
On the threshold of a discovery

If only she could picture
The boundlessness of God drawing
An invisible thread through the starry spaces

If only she could paint
The horizon without limits

A horizontal line is a pilgrimage

A segment of devotion wrested from time

An infinitely gentle mark on a blank page

The stripe remains after everything else is gone

It is a wisp of praise with a human hand

It is singing on a bare canvas




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Agnes Martin, Untitled, 1960, Oil on linen, 12 × 12". © 2006 by Agnes Martin/Artists Rights Society (ARS), New York.
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Agnes Martin, Untitled, 1960, Ink on paper, 11 7/8 x 12 1/8" Copyright:© 2015 Estate of Agnes Martin / Artists Rights Society (ARS), New York
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Agnes Martin, Untitled #10, 2002. acrylic and graphite on canvas, 60" x 60", Pace Gallery
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Agnes Martin work (1960-1980)
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Agnes Martin, Untitled #20, signed twice, numbered twice and dated twice '1974 a. martin #20' (on the reverse and on the overlap), acrylic, graphite and gesso on canvas, 72 x 72 in., Painted in 1974.
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Agnes Martin, Untitled (#22), signed and dated 'a. martin 1965' (on the reverse), ink on paper, 12 x 9¼ in., Drawn in 1965.
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Agnes Martin, White Flower, 1960, oil on canvas, 182 x 182 cm, Solomon R. Guggenheim Museum, New York, USA
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Agnes Martin, The Islands, 1961, Solomon R. Guggenheim Museum, New York, USA
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Agnes Martin, Untitled (1960), oil on canvas, 70″ x 70″; courtesy PaceWildenstein
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Agnes Martin, Starlight, 1963. Watercolor and ink on paper, 8 x 8 in. Private Collection
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Winter Color

1/19/2015

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Despite the grey January days, there is still plenty of natural color to be found if you look for it.

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