January 17, 2013, Interactive Arts & Technology: Drawing As Inquiry (IAT 208)

1. Tink
Newman
301116260
1st
Artist:
Agnes
Cecile
Personal
Appeal
The
artist’s
name
is
Silvia
Pelissero
best
known
as
Agnes-­‐Cecile.
She
was
born
in
Italy
in
1991.
She
later
attended
an
art
high
school
in
Rome
and
continued
self-­‐
taught
as
a
painter.
Her
piece
below
is
titled
“loss”.
1
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8

2. Tink
Newman
301116260
The
piece
above
is
an
intentional
half
painted
watercolor
image
of
a
woman
facing
left,
her
eyes
downcast,
with
the
paint
primarily
describing
the
shadows
on
her
torso.
There
is
a
series
of
blues,
pinks
and
purples
flourishing
inside
her
head
and
two
birds
at
the
back
of
her
head
over
the
ear,
almost
as
if
they
were
resting
in
a
nest
on
a
side
bun
of
hair.
A
long
stream
of
blue
paint
coming
from
underneath
the
birds
and
back
of
the
head
draws
the
eye
down
to
her
partially
painted
shoulders
and
chest.
This
is
where
the
viewer
likely
guesses
she
wearing
a
dress
or
towel.
I
like
this
painting,
not
because
of
how
it
makes
me
feel
currently,
but
because
I
can
remember
times
when
I
felt
great
sadness.
The
simple
choice
that
Cecile
made
to
fade
out
edges
and
highlight
the
shadows
and
darker
areas
in
colour,
pink
especially,
seems
to
bring
a
seed
of
hope
into
the
painting
for
overcoming
the
female
figure’s
loss.
The
painting
holds
interest
because
it
creates
warmth
of
tones
through
the
watercolors.
It
also
creates
an
interest
in
the
feeling
of
freedom
of
thought
due
to
the
relaxed
stroke
choices,
layering
of
colors
like
the
complexity
of
brain
and
the
artist’s
attention
to
detail
and
broad
strokes
to
create
balance.
Cecile
communicated
this
message
by
condensing
the
areas
of
focus
by
creating
delicate
combination
of
overlapping
splashes
of
watercolor
in
tones
of
pink,
blue,
purple
and
torquoise
mixed
with
fine
brushwork
for
the
fine
points
of
the
birds
and
facial
features.
Historical
Cecile’s
style
reflects
a
millennial
take
on
Italian
futurism
that
was
established
on
the
cusp
of
the
20th
century.
Futurists
featured
red,
blue
and
white
as
dominant
colours
and
humans
in
motion.
Futurism
was
a
modernist
era
that
focused
on
speed,
technology
the
violence
of
the
future.
It
later
was
responsible
for
influencing
surrealism,
Art
Deco
and
other
forms
of
art.
Cecil’s
art
seems
to
rebel
against
the
harsh,
ridgid
style
of
futurism
with
softer,
playful
strokes,
splashes
of
overlapping
of
the
blues,
reds
and
whites
watercolour
paint,
with
dripping,
naturally
created
suggestive
forms.
Her
drawing
techniques
accent
the
edges
and
shadows
of
the
forms
that
are
necessary
to
make
out
the
basic
human
shape
and
details
of
facial
expression.
She
uses
dark,
small,
fan
like
strokes
in
the
crease
of
an
elbow
just
to
show
that
it
is
there,
yet
not
to
draw
attention
to
it.
She
sometimes
paints
controlled
strokes,
other
times
she
lets
the
color
run
or
expand
naturally
and
surrealistic
like.
There
seems
to
be
multiple
sources
of
light
in
the
painting
as
the
edges
fade
out
into
white,
revealing
highlights
on
the
nape
of
her
neck,
her
forehead
and
her
chest.
She
uses
specific
colors
to
convey
certain
emotion
and
life
such
as
pink
to
give
the
face
a
human
glow,
a
blue
line
to
indicate
sadness
or
tears
and
white
for
the
temporary,
“not
all
there”
or
unfinished
nature
of
sadness.
The
speckles
of
paint
in
front
of
the
woman’s
face
as
well
behind
the
head
indicate
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3. Tink
Newman
301116260
perhaps
she
is
moving
her
head
to
the
right.
However,
the
straight
blue
line
and
waves
of
blue
above
the
head
suggest
the
user
is
melancholy,
deep
in
thought
and
grounded
to
one
place.
The
birds
however,
contrast
this
outer
shell
of
the
body,
suggesting
she
longs
for
relationships,
freedom,
joy
or
happiness
that
she
once
had
as
signified
of
the
two
birds
nestled
together
and
those
flying
around.
Thematic
Perhaps
the
artist
is
trying
to
have
the
viewer
understand
that
this
person
is
struggling
with
loss
and
memories,
but
the
process
of
being
distressed
or
downhearted
is
natural
because
she
is
still
human,
beautiful
and
full
of
life
and
colour.
The
viewer
should
look
for
beauty
in
what
memories
there
are
and
realize
the
world
is
still
beautiful
and
shining.
People
look
because
they
know
there
is
some
truth
to
this
feeling
the
work
conveys.
Viewers
subconsciously
realize
there
is
a
balance
to
everything
and
even
in
loss
and
sadness,
beauty
can
arise
out
of
it
after
the
tears
are
shed
and
memories
are
cradled.
Analysis
of
Style
The
space
is
filled
with
soft
definitions
of
a
human
form,
with
a
large
amount
of
curving
white
space
on
either
side.
White
lines
are
carved
into
the
face
and
neck,
likely
through
taping
before
watercolor,
seeming
to
reference
a
sun
or
complexity
of
thought
and
inner
turbulence.
There
is
a
strong
focus
at
the
top
right
hand
corner
with
first
the
eyes
and
mouth
of
the
face,
then
the
birds,
then
down
to
the
shoulders
and
chest.
The
edges
use
a
similar
style
to
classical
Italian
sketch
artists
in
that
the
edges
are
faded
out
for
what
is
least
important
to
convey
the
meaning.
The
watercolor
goes
off
the
page
almost
to
suggest
it
is
a
never
ending,
ceaseless
emotion
or
memory
that
never
culminates.
The
back
shoulder
is
has
a
more
defined
edge
due
to
the
darker
color.
All
the
areas
with
intense
paint
are
the
most
defined
edges
though
there
are
no
hard
edges
made
with
ink
or
pencil.
It
is
as
if
to
suggest
a
peaceful,
soft
sadness,
versus
an
angry,
vengeful
sadness.
The
artist
uses
a
value
scale
that
is
quite
varied
from
soft,
pale
pastel
versions
of
the
hues
to
the
more
saturated
versions
of
the
pigments.
The
value
scale
darkens
in
shades
as
it
goes
up
towards
the
head,
the
main
focus.
The
piece
speaks
volumes
of
sadness,
understanding,
some
of
wisdom
and
life’s
natural
cycle
of
beauty
arising
out
of
loss.
This
female
in
the
picture
is
still
beautiful
though
she
struggles
with
her
loss
and
how
to
communicate
her
emotion.
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4. Tink
Newman
301116260
2nd
Artist:
Dale
Chihuly
Personal
Appeal
Dale
Chihuly
was
born
in
1941
in
Tacoma,
Washington,
United
States.
He
was
first
introduced
to
the
properties
and
beauty
of
glass
while
as
a
child.
He
remembers
discovering
gem
coloured
bits
of
glass
while
beach
combing.
He
later
spent
time
as
a
fisherman
on
the
shores
of
the
New
England.
For
his
education
he
attended
the
University
of
Washington
for
Interior
Design
and
the
Rhode
Island
School
of
Design.
Chihuly’s
materials
for
the
work
“Blue
Herons”
are
blue
and
white
colored
blown
glass.
His
installation
was
on
display
in
the
Royal
Botanic
Gardens
or
Kew
Green
Gardens,
Richmond,
Surrey,
England
from
May
28
-­‐January
15,
2006.
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5. Tink
Newman
301116260
The
two
images
I
choose
for
the
piece
conveyed
a
sense
of
rhythm
and
life
that
represented
great
birds.
The
first
image
shows
the
texture
of
the
glass
and
the
segmented,
divisions
that
give
a
fluid
feeling
of
feathers
laid
flat.
At
the
base
of
each
glass
piece
representing
a
bird
is
a
medium,
hollow
glass
stem
in
variations
of
dark
blue
to
teal,
fading
into
a
lighter
tint
as
the
stem
travels
vertically
along
the
form.
This
piece
stood
out
to
me
as
an
abstract
yet
realistic
capturing
of
a
beautiful
and
graceful
species.
The
birds
seemed
as
if
the
reveled
in
their
freedom
and
were
dancing
across
the
water,
all
in
their
own
natural
stages
of
being
upright,
looking
around,
drinking,
poised
for
flight
or
sleeping.
Chihuly
communicated
his
message
by
studying
the
arches
of
heron’s
necks,
and
bending
the
glass
to
follow
their
forms.
He
also
looked
at
the
most
prominent
bodylines
when
they
stood
on
one
leg
to
abstract
the
form
into
a
single
flowing
sculpture.
He
arranged
the
glass
creatures
in
a
nature’s
seeming
random,
idealistic
placement
near
an
open
space
of
pond,
near
tall
grasses.
The
height,
color
and
grace
of
the
conveyed
movement
through
glass
clearly
indicated
that
the
installation
was
describing
the
beauty
and
motion
of
large
blue
and
white
birds
known
as
blue
herons.
Historical
Chihuly
historically
is
known
for
his
beautiful
glass
creations
that
reflect
the
iridescence
and
sparkling
of
light
from
that
in
nature
and
his
imagination.
He
traditionally
creates
his
art
with
a
team
in
a
studio
called
The
Boathouse,
located
on
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6. Tink
Newman
301116260
the
Northwest
coast.
He
carries
himself
as
a
professional,
is
always
well
dressed
and
lives
with
a
passion
for
what
he
creates.
When
describing
how
he
began
creating
glasswork
such
as
the
“Blue
Herons”
he
said,
“I
learned
more
about
the
technical
and
fluid
possibilities
of
the
material
and
soon
became
immersed
in
my
glasswork.”
He
has
taken
his
passion
and
shared
it
with
others,
directly
through
his
over
200
museum
installations
and
through
the
Pilchuck
Glass
school
which
he
co-­‐
founded.
His
style
is
known
for
an
amalgamation
of
tight
and
loose
curves
of
glass.
He
uses
different
colours
and
thicknesses
of
glass,
some
that
span
the
imagination
and
others
that
reflect
a
wilderness
from
the
natural
world.
He
introduces
a
scientific
feel
into
his
pieces
by
showcasing
a
flowing
depiction
of
physics
such
as
in
his
birds
and
other
life
forms
from
the
sea.
He
shapes
the
rims
of
the
glass
to
bounce
light
in
all
directions
so
viewers
from
every
angle
will
see
his
magnificent
works
glow,
immersed
in
their
environment.
Chihuly
uses
a
“stick”
or
blowpipe
to
blow
air
into
the
glass,
a
unique
process,
because
no
other
material
can
be
blown
to
create
a
form.
He
is
more
fascinated
with
the
end
product
than
the
process
itself.
He
uses
teamwork,
with
each
member
assigned
to
a
certain
task
and
the
master
finishing
the
end
product.
His
style
was
initially
characterized
by
creating
environments,
then
shifted
to
Navajo
basket
forms,
progressing
later
to
aquatic
forms
and
large
speckled
pieces
called
Macchias.
He
never
completely
closed
a
door
in
aesthetics
and
continues
to
make
pieces
from
previous
series
in
the
past.
Thematic
I
believe
the
artist
is
just
fulfilling
his
inner
imagination
and
dreams
by
creating
and
placing
added
beauty
in
the
world.
It’s
almost
a
way
of
an
artist
fixing
a
broken
world.
They
add
beauty
since
they
feel
a
need
to
be
a
creator.
He
is
not
communicating
greatness
or
splendor
of
himself
or
his
works,
but
more
of
a
gentle
merging
of
reality
with
his
own
works
bringing
them
his
own
version
of
life.
He
was
a
humble
spirit
that
allowed
him
to
say,
"I
don't
think
about
how
I'll
be
remembered;
I
think
about
what
I
want
to
do
next."
People
look
at
his
works
because
of
the
eye-­‐catching
uniqueness,
similarity
to
reality
and
abstraction
of
beauty
down
to
its
essence.
The
forms
he
creates
are
as
interesting
as
the
hidden
creatures
in
the
depths
of
the
sea.
The
way
he
integrates
his
pieces
into
exhibits
and
into
gardens
makes
them
a
fascinating
spectacle
to
wander
through,
absorbing
and
seeing
through
a
great
artist’s
lens.
Analysis
of
Style
His
space
is
filled
by
leaving
open
space
for
some
the
outside
forms,
especially
those
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7. Tink
Newman
301116260
integrated
with
nature.
These
pieces
are
known
for
their
layering
and
bending
of
glass.
Other
pieces
fill
space
with
air
inside
such
as
in
the
case
of
the
heads
of
Blue
Herons,
giving
them
a
breathing,
lifelike
character.
The
edges
of
the
Blue
Heron’s
work
are
both
placed
integrated
with
their
environment
of
the
water
and
above,
are
curled
up
in
a
proboscis
like
fashion.
If
he
had
chosen
to
represent
a
beak
directly,
he
would
have
taken
some
of
the
beautiful
abstraction
away
and
the
sharp
edges
of
the
beak
would
have
looked
like
daggers.
His
decisions
for
all
edges
create
soft
and
peaceful
feelings,
never
aggressive
or
dangerous
looking
with
perpendicular,
harsh
edges
or
sharp
points.
Everything
is
created
with
a
flowing
nature.
He
traditionally
has
used
a
changing
value
scale
and
saturation
of
colors,
but
in
the
Blue
Herons,
he
uses
a
saturated
hue
of
blue
that
fades
in
different
degrees
to
a
translucent
white
glass.
The
composition
is
structured
to
allow
the
viewers
to
be
across
from
and
almost
surrounded
by
these
Blue
Herons
standing
in
the
pond.
Their
different
body
postures
created
a
convincing
brood
of
birds,
their
motion
captured
in
colorful
stillness
of
glass.
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8. Tink
Newman
301116260
Bibliography
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(2009).
Introduction
to
the
Artistic
Style
of
Futurism.
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15,
2013
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E.
(n.d.)
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15,
2013
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A.
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About.
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15,
2013
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cecile.cleanfolio.com/about/
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A.
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K.
(1987)
The
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made
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16,
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art_detail.aspx
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D.
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Blue
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