LOREN FRIESEN

GRANDMAS PICKING FLOWERS:  artist's notes

SKU: 3

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A solid, vertical structure (composition) supports a cascade of small, sprinkled shapes in a loose X-pattern: flowers from top-left flow downward to the bottom-right; and flowers and a blue-kimono pattern flow downward from the top-right to the bottom-left. This X, which follows the lines of the grandmas' inside shoulders, crosses at the bouquet held by the right grandma. In addition, there are random patterns of leaves, fabric and small stones scattered everywhere across the composition.

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As someone who visited my studio informed me many years ago: A solid compositional structure can support many details. So these details are held up by the figures of the two grandmas standing side by side–two solid pillars supporting the whole picture.

 

This symmetrical composition could be predictable, but it is greatly enlivened by the interesting negative shape that runs down the middle between the two grandmas. Negative spaces can contribute as much to a picture as the objects themselves. You'll notice additional negative shapes between the edges of the picture and the grandmas. All these negative shapes were created by carefully placing the grandmas in relation to each other and in relation to the edges. So the composition is supported by 5 vertical "columns": the 2 grandmas and the 3 background strips between the grandmas and on either side of them. To make room for this I had to push out the left edge of the picture in order to create space for the left background strip.

 

Also, notice everything that is happening on the edges. The edges of my pictures are intentionally active–so please don't attach a frame or matting that would cover them. The edges of pictures have the potential for visual magic.

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The grandmas' clothing, each divided into three parts, create a horizontal movement that breaks up the vertical predictability of the two figures standing side by side. The white aprons, the jackets, and the skirts are across from each other, as are the grandmas' faces and feet. But the brown jacket on the top-left resonates diagonally with the mauve skirt on the lower-right, somewhat breaking up the predictable pattern. These horizontal pairs of shapes counteract the strong verticals.
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The slight curve, in which the grandmas' feet are arranged, mirrors the curved edge of the large, flat stone at the bottom. This stone's curved edge exerts a subtle, upward force that elevates the grandmas visually and psychologically. The stone is also cut off by the bottom of the picture as though resting just inside the viewer's field of vision. This suggests that you the viewer are at the very edge of the picture.

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Rich colors and strong contrast between sunshine and shadow deepen the visual and emotional impact of the picture.

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What seems to be the relationship between these two women is very interesting to me. But those feelings tend to be more subjective* and personal to each viewer. So I will leave those thoughts to you. They are in contrast to the things I am describing about the composition, which are much more objective,** because you can verify compositional things with your own eyes. They are describable because they are actually there to be seen.

 

(Yet, I can't help saying this about the connection between the composition and the grandmas' relationship with each other. In Japan, relationships between people are often felt–not expressed in words. Though this may be a subjective statement, it feels to me that these two grandmas are silently knit together by the composition. In other words, the composition, particularly the negative shapes, defines the grandmas' relationship.) 
 

But back to the tangible nature of compositions…  Learning to see what is really there adds immeasurably to the enjoyment (and the making) of art. Of course, I'm fallible and can misjudge what I see, but I am attempting to describe things that are actually in the picture–and therefore things that you also can see. That means that art is not as subjective as many people assume. (It's also true that no quantity of words can make up for an emperor's invisible clothes. They're there or they're not! You can see them or you can't! So learn to trust your eyes.)

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Finally, how well a composition is put together is a major determiner of the quality of a work of art. So learning to evaluate the quality of a composition (or lack of it as the case may be) greatly enhances one's artistic judgment and enjoyment.