February 23, 2012

Today brought us back into the tower to  see the creative masterpieces done by our colleagues. Wow, so much has happened since we were here Feb. 9.  We changed the Sky to feel as if a wind has swept the valley of imagination. Being inspired by our childhood literature, we  created a valley in front of a mountain range, and added houses to the front of the painting.  Little Red Riding Hood has appeared and we felt she needed a village.  The steps on the right became houses with doors and the Greek architecture from the left side was mimicked on the right.  The whimsical heart tree and the balloon tree were left as sketches to add a touch of gentleness in an otherwise frightful dream in the sky.

Marylouise Roach and Madeleine Schaller

Mariana did such a wonderful job of pulling together a mystical scene.  I love the references to Santorini – a most magical and mystical spot!  The feeling I had on coming in today and seeing what has evolved was that we were drawing a dream so I turned the round shape at the bottom left into a little boy with his eyes closed.  I also worked on the shape at the far right.  The clown-like character actually scared me, so I softened it into another dreaming face.  At Jordan’s suggestion, I pushed the mountains back a bit.  I also added a moon as well as some moonlight on the caldera.  I like the two sides with stairways leading to and away from the center, but I think there is still room to distinguish the area in the middle – either by simplifying it or making it more unified or by making it more “dense”.  What fun it was to come back after a week to see how this panel had changed!!

Nan Fuhrman

February 23, 2012

I am delightfully haunted by the emerging mystery that is portrayed in this graphics/pastel construction.  My approach was to locate muted color and form in places that called to me.. as I got moving, I began to see mythological forms lurking about and around the human figures.  The lurking forms are prompting to move the distressed damsel toward the light and safety.  There is a tension between darks and lights – good and evil? – with the traditionally sly fox, perhaps, being the eyes of protection on the dynamic scene. 

And what is that developed city in the distance?  Is it a lost city that has been snuffed out by the more organic and grounded old fashioned small town, protected by castle and by church-like fortresses?

I’ve added color and shades in various places, and I turn to others to help balance shapes, darks and lights with the intensity they need to

finish out the story.

Ellen Pechman