I really like your work a lot, powerful creative style with a great deal of flexibility. However, I haven't really cared for the dark, loopy graphite marks that crop up in many of your pieces, they generally look good from far away but stick out in a bad way upon close examination. To me they look like working lines for something you were going to add later but ran out of time for.
Thanks for the comments - I make a case for the graphite marks like this - they are an essential expressive balance to the fine detail, visceral and gestural marks with energy that to me give the piece balance - take them away and you are left without the energy and counterpunch that they provide. They work in a similar way to the gestural marks which lay down the liquids in each piece, whereas the liquids marks are quite often embellished and balanced with fine calligraphy style detail, I find that the rawness of the graphite completes the work for me in a way that the other materials can't achieve.
I get where you're coming from, and I like the idea but for me it lacks continuity. You have the wonderful ability to take a very chaotic canvass and bring out beautiful forms and shapes. The dark graphite lines hurt my ability as a viewer to see this amalgam of shapes as a coherant figure, which in turn damages my emotional engagement. Like actors in a movie breaking the forth wall, the graphite lines seem like your comentary on the piece as an artist rather than coming out of and enhancing the previously established context.
Getting more specific, that large, straight vertical line stands out in particular as beinging unlike any other line in the whole piece, drawing my attention away from your incredible technique to that relatively boring vertical line. I don't think this really helps you out.
I like that you want to add a more viceral quality to your work and sometime I find the graphite lines work better than others, like the way you worked the lines in for Beautiful Decay carnegriff.deviantart.com/art/…. Maybe you can take those harsh graphite lines and finess part of them into the background of the piece, leave part raw and in the foreground. You could also hide some of the seams, make it look like they're exploding out of some unseen place behind the figure. Somthing like that. I imagine you'll keep experimenting with it. Your work is friggin incredible in either case.
I get you 100% but because they are not a considered part of a work sometimes they can make or break the piece - in a recent work the graphite lines transformed the piece purely by accident into something quite different and my work is all about this - there is something exciting straddling this line of destruction and balance - where everything can go wrong in an instant. My favourite pieces have nearly all gone through a stage of near abandonment or deliberate destruction before pulling back into something balanced.
The commentary point is interseting though and you are right - to some extent these marks are an aside - I make them late in the process so they are undisturbed, strong and graphic, and sometimes I soften them by cutting across with an eraser to break any areas that are overly harsh. The last thing i want is to have elements from the piece which distract or take away from the other parts or seem disjointed to the viewer.
Thanks for taking the time to write your thoughts - it's refreshing to think hard about this part of the process, whether it is necessary and how it influences the gaze of the observer - I really appreciate that.
It's my pleasure honestly, constructive criticism is one of my stanger hobbies. It's a complicated process on both ends but it's undeniably rewarding in its own ways.
As an artist myself I find there are very few people who understand it, so I've done my best to internalize the process, not to be my "harshest critic" but rather my own bluntly honest but impeccably polite editor. I try and see my work for what it is without the angst and frustration, and I find praticing on other people's work when appropriate helps. I have to enjoy their output and/or know them personally though and they have to request feedback first, otherwise it usually doesn't go over as well.