Collage to Painting/Minimal to Maximal Workshop with Josette Urso
MASTER ARTIST WORKSHOP
Monday-Friday, October 23-27, 2017
10am-4pm each day
Studio: 3rd Floor Painting Studio
This course takes a lively approach to exploring the interrelationship between collage and painting. Students will employ the historically unstructured medium of collage as a means of sketching and as a springboard for ideas in painting. Work will begin simply, becoming progressively more complex as students are urged to push the limits of both the mediums and their ideas. As the work done in one medium assists and influences one’s vision in the other, the collaboration between process and concept will encourage the production of less planned and more unexpected images.
The aim is to refresh the artist’s vision while introducing the students to the painterly possibilities of alternative media. New media spark new ways of thinking, and collage is a rich medium providing an infinite range of possibilities. Through suggestion and demonstration, work will proceed with exercises that are both conceptually and technically based. These exercises lead into personal projects that probe the student’s creative matrix and provoke awareness and personal vision.
Limited to 12 students.
Materials List (Download Below):
Materials List. Collage to Painting, Minimal to Maximal with Josette Urso
PARKING DISCLAIMER: Please note that the Morean Arts Center is located in a rapidly developing portion of downtown St Petersburg, FL. Parking in our two designated lots is limited and cannot be guaranteed. You may have to park your car up to several blocks away in a 2-or-3 hour parking spot. Our instructors are aware of the possibility that you may have to excuse yourself from class to move your car once your parking time has expired. The Morean Arts Center is not responsible for parking tickets nor will refunds be issued on the basis of having to park your car outside of our designated lots.
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Josette Urso Artist Statements
I am preoccupied with the problem of information, or its dual nature as nourishment and interference. We cannot live without information, but a surfeit of it can dissipate and dull the attention. In my collages, I attempt to achieve a maximal synthesis of focus and disarray. The visual space is highly randomized and highly ordered. The play of visual coincidence creates pleasure, just as it keys us into the generative power of chaos.
I want to push the visual matrix to a crescendo just before breakdown, to find, in T.S. Eliot’s phrase, “The still point of the turning world.” There is a gamble involved in this, and my circular arrangements put me in mind of roulette wheels, just as they provide an insight into the spectral nature of consciousness.
About Painting and Drawing:
Teetering between urban and natural subjects, I make exploratory paintings and drawings working directly and urgently in response to my immediate environment. My approach involves “moment-to-moment” extrapolation governed by intuitive leaps of scale, color and wayward geometry. Contrasts and cross-fertilizations unfold and are cumulative, non-linear, free-flowing and interpretive. Space becomes an ambiguous and malleable substance and I delight in its manipulation as I meander acrobatically in a kind of gymnasium of convoluted mark making and image collision. All along the way, I engage in the known as well as the unknown in unforseen ways.
For me, drawing and painting parallel the act of seeing and are the most direct links to private time with the physical world. Despite the urgency of my process, as I work, time still slows down. My work becomes a record of this exploration and a reflection of my inherent energy and reason for living.
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