The Silent Image

About

People who paint pictures are usually quiet while they work. They speak only in exceptional cases, absorbed in their task and engaged in a deep inner dialogue with the image while also immersed in silence.
Some painters listen to music on their headphones or use good speakers. The music influences their emotions and, indirectly, their painting. This soundtrack, however, is no longer audible in the finished work. It is possible, of course, that the picture still carries traces of the emotional influence. If so, it stems from the painter’s inner state – their mood or emotional disposition – at the moment of painting. But otherwise, the picture remains silent. It offers no words, produces no sound, hangs flat against the wall, takes up almost no space, and does not push its way into our lives or impose itself upon us. On the one hand, this inherent modesty of painting is not particularly advantageous for building a career. But what happens when an artist embraces this modesty and discovers it as a source of conviction—or, more contemporarily, as a strategy? Can a silent image convey such a stance? Does it even matter, because the essence of modesty naturally leaves the idea of modestybehind?
And what about viewers? What do they see, what do they feel? Does it matter for the image, or for the artist?
In this workshop, we will joyfully explore this peculiar yet everyday question of the silent image, both in thought and in practice.
The course is aimed at people who want to explore their painting practice and deepen the quality of their painting. The focus is on one’s own artistic activity – painting as a contemplative, concentrated process. Participants receive individual support, but we also talk about the works as a group. Through discussions of the pictures, we will examine how inner attitude, perception and feeling are transferred by the visible image. We will work individually on our own image ideas, using subjects we have brought with us or that we develop during the course. Various painting approaches can be used – from representational to abstract, from colour-intensive to restrained.
The workshop offers space for artistic tranquillity, exchange, and conscious perception. It is aimed at anyone who would like to experiment with painting, regardless of their level of experience.
The first two days of our summer academy will include a colour workshop. In these exercises, we will try out several limited palettes to deepen our understanding of mixing and colour relations and develop a common vocabulary for talking about colour that we will use in our later discussions and group critiques. This workshop is great for all levels and will help us get to know one another.
We will also offer daily, short silent meditation on our creative heart after lunch: “Close your eyes and see” (Heartfulness).

Course leader

Christian Macketanz

Target group

Requirements:
none
What to bring:
The course consists of three sessions that are two hours each in which we will paint from a model. We will be using water-soluble oil paints. They can be thinned with water or used with normal gel or solvent-free oil mediums. We will provide the paints, but please bring your own medium (remember, solvent-free or water), brushes, and something to paint on (thick paper or canvases) for the four exercises. In our experience, A4 is a good size for each two-hour session, but you are welcome to bring larger or smaller sized painting surfaces if that's what you are most familiar with.

Fee info