Visual Studies 280 SP2016 Week 9: GLIMPSE / OVERHEAR

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Visual Studies 280 SP2016 Week 8: VEIL/BEGIN

Begin: come into being or have its starting point at a certain time or place.

Visual Studies 280 SP2016 Week 7: FUND/DELVE

Accidentally on Purpose?

The aesthetic management of irregularities in painting is art.

An pattern is conceptualized as a range of possible structures rather than an unchangeable motif. It will not repeat in the usual see, but colorize as a sequence of visual elaborations. 

Visual Studies 280 SP2016 Week 6:RESTORE/NOURISH/FEED

Visual Studies 280 SP2016 Week 5: TARRY

Definition of TARRY :

to stay somewhere, to be slow in going

"The verb tarry is perfect for describing what happens when those relatives that you see once a year come to your house for lunch and never seem to leave. When people tarry they stick around and take a long time to depart, sometimes lurking or loitering, or sometimes enjoying each other's company."


I know what I am doing. I waste time and energy, and lavish my heartaches all over the place: but I still know what I am doing.” Martha Gellhorn, in Selected Letters

Visual Studies 280 SP2016 Week 4: RETURN

Visual Studies 280 SP2016 Week 3: EDGE

The best part I enjoy this class is the way we critic, we say what we feel and what we want to say instead of what we should say.  We based on the feelings that those paintings gave us.

Other classes, especially architecture studios, the instructors made us draw a lot of attention on what we had seen in front of us. And using logic to criticize how much technical stuff evolved, or just purely look at the effort/time they put in.

Sometimes we cannot see out loud what we just felt. Something we cannot seeing art by thinking. We should just feel it by visually.

 Due to so much technical the project owner using, we start to appreciate the work by logic think. We make ourselves to feel what they want us to feel. Like most of the architecture critic does.

But most of the time, when I felt the author made too much pressure on me and drag me too hard toward one direction, than I just refused to feel it. I want to get that destination by myself instead of been told how to walk to it.

That’s why a lot of time we don’t want to see the simplicity or how good visual joy the projects bring to us, we looking it by engaging how many kinds of materials they using and start to critic from there.

Once we put too much thinking on things, we are limited in the small area and boundary in our imagination.

Later on we lost the ability that feel  things directly by instance.

But most of the time, we should look at those projects by instance feelings which is the most precise. This class trained us how to talk about what feelings the projects give us.