PENNY'S RADICAL METHODOLOGIES.
(please scroll down page to see all images and commentaries).
Penny who chooses to carefully watch the regular, but completely optional, instructionals done at the art project in classic foundational oil painting technology and classic life drawing methodologies, "absorbs what she likes and leaves the rest", transmuting everything into her own, non-duplicatable, application and rendering manner.
Penny Anne Kirk. Joan of Arc. Oil on Canvas. September 12, 2003.
As mentioned on another page on this site, sometimes she moves across the unpainted canvas surface "unrolling" the thickly painted "complete" painting like a magic hand painting in a Disney film.
Penny is exceedingly intelligent and gifted, her exquisitely unique personality interwoven with the ebbs and flows of the challenges of balancing her medications with her severe bi-polar diagnosis.
Listening to the lectures or dialogues in the art project on classical techniques, some of which she rejects and others of which she adopts at will, she clearly shows the level of her acute aesthetic consciousness.
In the irony of her utterances regarding impasto, which she often calls "pasta", and her parallel new found love of scumbling, a process used by Rembrandt and others, she generously increases the surface area of her painting by leaving, almost impossibly tall, raised edges of impasto.
As the manifold surfaces of the alveoli sacs of our lungs capture more air than they could if they were but flat sheets, Penny, with the alveolar membranes of her convolutions of paint, captures more light than otherwise would be possible within the picture plane.
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