Describing form nowadays in terms of painting, particularly when done from a naturalist reflection, is a highly complex challenge that requires the strongest bond between the painter and materials, particularly pigments. The election of which colors are going to make up the palette is one of the most transcendental decisions that a painter takes. This workshop is going to concentrate on how the relations that are generated within the palette whilst painting have the potential to amplify the specific intention behind the goal of representation.
Identifying the type of variables that compose the visual hierarchy of our perception, and establishing those variables as the guidelines from which the painting is going to be constructed, is a vital practice for the painter. Among those variables are composition, drawing, form, structure, gesture, light, atmosphere, expression and color.
In this workshop specific exercises while working from a life model are going to be done, and based on the palette and the color relationships that are generated in each palette type, different of the previously described variables are going to be emphasized.
The goal is to bring the painter closer to identifying and generating a solid dynamic between perception, intention and interpretation through painting, never leaving behind the fundamentals of drawing.
Nicolás Uribe is an American painter, born in Wisconsin, USA, currently based in Bogotá, Colombia. He graduated with Honours as an Illustration Major from School of Visual Arts in NY. Nicolás has had numerous solo exhibitions both in the US and South America, and has exhibited his work in Mexico, Spain, Egypt, among other countries. He splits his time between preparing works for upcoming projects and teaching Life Drawing and Painting at the Fine Arts Faculty of the Pontifical Xavierian University in Bogotá. Nicolás is also part of the team at Blank Atelier in Bogotá, where he teaches workshops privately.
The focus of this workshop will be on the organization of multi figures in compositions that are driven by an applied or invented context. This context will be wholly dependent on the technical narrative. As such the “dramatic narrative” or “subject”, if you will, will be implied, not overstated in any way. The purpose of such a lesson is to pull from technical procedures the lion’s share of meaning, therefore placing the greatest creative responsibility on the manipulation of materials and the story of their evolution in the painting.
We will work with live model and a variety of methods and materials but predominantly oils on shellacked paper. Aside from this, the workshop will include lectures, demonstrations, and an exhibition of the work completed during the week.
Vincent Desiderio was born in 1955. He graduated from Haverford College in 1977 and later attended the Pennsylvania Academy of Fine Arts, where he is a Senior Critic. He is also a Senior Critic at the New York Academy of Art and has been a visiting professor at numerous universities both in the USA and abroad, most recently at the Tianjin Academy of Fine Arts in China. He lives and works in New York
Sangram Majumdar in his own words:
“I do try to be present fully when I am teaching, whether it is working one on one in a studio situation, presenting a lecture, or critiquing student work. I also think it’s important to create a space where discovery through experimentation is encouraged, especially where one can move past his/her tendencies to new territories.”
Born in Kolkata, India, Majumdar has an MFA from Indiana University and a BFA from the Rhode Island School of Design.
He has exhibited extensively both nationally and internationally and has lectured on his work at numerous colleges including SVA, Pratt, RISD, PAFA, SUNY-Purchase, Princeton University and the New York Studio School. Recent solo exhibitions include Georgetown University, DC; Steven Harvey Fine Art Projects, NY; Rothschild Fine Art, Tel Aviv, Israel, and the Kresge Art Museum, MI. Awards include a MacDowell Fellowship, a residency at Yaddo, the 2009-10 Marie Walsh Sharpe Studio Space Program Grant, a MICA Trustees Award for Excellence in Teaching, and two Maryland State Art Council Individual Grants in Painting. His work has been published in several drawing textbooks.
Majumdar lives and works in Brooklyn, New York. He is a full-time Professor of Painting at the Maryland Institute College of Art.
n this 5-week workshop we will study the work of 5 distinct pairs of artists, one historical and the other contemporary, that work with the figure. We will use their work as a point of inquiry into composition, light, color, narrative, and abstraction. The studio work will include drawing and painting from the model, studying the compositions from paintings at the Prado, and drawing outside. Aside from this, the workshop will include lectures, demonstrations, and an exhibition of the work completed during the week
Stuart Shils is a Master of visual perception applied to the art of painting. With this workshop you, as an artist, can change the way you see the world and the way you make your pictorial and personal interpretation.
Stuart Shils has painted outside from nature for 30 years. His work has been presented in solo shows in New York, Philadelphia, Tel Aviv, Boston, San Francisco and Cork (Ireland).
Shils is currently a critic to advanced students at PAFA in Philadelphia where he also teaches a painting class in addition to Master Classes in painting and monotype. He was also a visiting critic at the Vermont Studio Center for many years and currently teaches at numerous venues around America.
Primary emphasis of the workshop will be
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