The whole time she was pregnant, Ruth Oosterman said she had a terrible artist’s block and couldn’t create anything. But the second her 2-year-old daughter was born, “she became my muse,”.
The Toronto resident said eventually, one of her daughter’s doodles caught her eye, and she saw a window for the two to collaborate.
And her daughter, Eve, has just as much fun creating the paintings as she does, sometimes going through “stacks of paper” and chatting with her mom about what she’s creating.
The engaged mom documents the photo project on her blog, The Mischievous Mommy, and films time-lapses of how each painting came together on her YouTube channel.
Painting with her daughter lets her move out of her comfort zone, she explained, by forcing her to relinquish control and think creatively.
“A favorite quote of mine is from Picasso, when he said it can take ‘but a lifetime to paint like a child,’” Oosterman said.
The Toronto resident said eventually, one of her daughter’s doodles caught her eye, and she saw a window for the two to collaborate.
And her daughter, Eve, has just as much fun creating the paintings as she does, sometimes going through “stacks of paper” and chatting with her mom about what she’s creating.
The engaged mom documents the photo project on her blog, The Mischievous Mommy, and films time-lapses of how each painting came together on her YouTube channel.
Painting with her daughter lets her move out of her comfort zone, she explained, by forcing her to relinquish control and think creatively.
“A favorite quote of mine is from Picasso, when he said it can take ‘but a lifetime to paint like a child,’” Oosterman said.
With thanks to Bored
Bug
Now it seems drawing is missing out. There is less and less of it happening.
The story above seems to back this up
‘Lost art’ Lamented As Drawing Goes Belly Up
ON the eve of the Dobell Australian
Drawing Biennial at the Art Gallery of NSW, artist and former National Art
School director Bernard Ollis claims Australian art schools are “in crisis” and
that drawing skills are in serious decline.
Ollis, a 2012 Dobell prize finalist, says the
demise of drawing, once regarded as the foundation of all art-making, is “partly
due to art schools pushing for new technologies and new directions, and thinking
that drawing belongs in the last century’’.“I think drawing in art schools is going through a poor time. A lot of people said, ‘out with the old, in with the new’, but they don’t know what to replace it with. They say, ‘here’s all this wonderful technology to play with’, but it doesn’t necessarily make you a better artist. I do think there is a kind of crisis in art schools at the moment, a dilemma as to what art schools are now providing. You have a lot of people wondering, ‘what now?’.
“It’s much more sexy to work with new technologies than to draw something, which is a bloody hard thing to do.”
Ollis’s views are shared by many leading figures in the art scene. The likes of Archibald prize-winners Cherry Hood and Wendy Sharpe, former Dobell prize-winner Kevin Connor and The Australian’s art critic Christopher Allen rue the rise of a generation of aspiring artists without even basic knowledge of perspective or tone — essential skills to art-making, be it painting or film or digital art, in their view. The Australian’s cartoonist Bill Leak calls drawing a “bit of a lost art”.
Critics lay the blame on a theory-heavy curriculum at the nation’s leading art schools, and an arts culture which, for a time, regarded drawing, according to Allen, as “incomprehensibly old-fashioned”. Ollis says: “I remember talking to a friend in London who is an art school lecturer about life drawing, and she said, “Oh, do you still do that Victorian peepshow stuff?’."
Ollis believes the lack of an old-fashioned studio culture at art schools is a source of the problem. He says “it seems COFA (the College of Fine Arts, now known as UNSW Art and Design) has somewhat lost its way in that regard, and Sydney College of the Arts lost its way years ago”, but both reject these charges. Sydney College of the Arts says “drawing is alive and well” at the school.
Ollis and many others would like to see a return to foundation skills being taught as core, rather than elective, subjects. “I don’t think you have to spend all day in a life-drawing studio or learning still life or urban landscapes but I think you need to keep these things alive and well,” he says.
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