- Diane Widler Wenzel
- The idea for COLOR BRIDGES came from many sources. Portland State College 1962,Professor Frederick Heidel's first painting assignment was to make a grid and explore mixing colors to arrange on the grid to see how they would look. Moving these painted pieces of paper on different backgrounds bring back 4 years of studying painting with Heidel. Each arrangement I have made are like his assignments. They have a goal of basics while allowing the emotions freedom. Another source was Professor Mary MacIntire at Western Washington University who was a member of Fiber Design and I had the honor of photographing for a statement about her process. She used to move around pieces of colored paper to design her fiber works.
Wednesday, November 30, 2005
I like walking in the rain but cross country running is a challenge under slick conditions. I did this painting from a sketch I did under a shelter at Avery Park in Corvallis. Then I di watercolor and liked the subject so much I did an acrylic painting.
Sunday, November 27, 2005
I might make more interior paintings especially during the winter months. I like windows especially so the outdoors is always present in these paintings. In this painting I was charmed by Kyra's hospitality and it shone through my hand. I think I have touched on Kyra's romantic personality here.
Friday, November 18, 2005
I have been painting over and over this one since September. In the process I realized that I wanted to paint the idealistic pioneering agriculture in late 19th century Palestine where my family was. I realized that the same spirit was in the produce stand in Kirnville, Oregon as well as many other places in the world at various periods of history. I really don't know which came first. Was it community, creative arts, or farming? Most likely all three occured at the same time. And possibly my forebearers believed we would all enjoy life more if we cultivated these three all together.
Wednesday, November 16, 2005
After my trip to China Tibet in 2002 I painted my memory of an artist I met and his monastery studio. I loved his set up of paint pots and yak butter tea. He sipped tea while he drank Sprite soft drinks. I would like to paint in his place perched in a window looking out on barren, rugged rocky mountains. What calm he must feel working on his meticulous religious thangkas painting. He has more than anyone else in Tibet. He has the best of two worlds - modern consumerism and the painter's spiritual path. Without tourists there would be no incentive to keep the appearance of tradition.
In 1994 I retraced my grandfather's steps and rode the Jerusalem train. Then in TelAviv I found what information and picures I could on the train station in Jaffa in 1892. Using some imagination I painted my great grandmother and grandfather boarding the train. Later family confirmed my hunch that they did go to Jerusalem on the train.
Wednesday, November 09, 2005
"What My Grandfather's Vase Means to Me - Giving Gifts" features some of the paintings I did as a tribute to my grandfather and my parents. Doing these paintings brought back memories and made me curious to do research into the relationship of the beginnings of making porcelain to making the Chinese Empire cosmopolitan. There was back and forth exchange of ideas throughout history. No civilization can exist by itself but is stimulated by cultural exchanges.
The process I was going through understanding the significance of giving gifts of vases as a bridge to competing powers and their history has given me the idea for the Children's Ceramic Project.
from observing the sequaro in the dry season and the wet ones too, I can learn to appreciate shapes of vessels and vases and even human gesture.
A dragon feels light and free being able to speak out. I have felt this way when I loaned a vase to the Jordan Schniter Art Museum, University of Oregon.
Without intention my twisting twirling style sometimes makes form that are like dragons. to see a hidden dragon look closely at "Primeval Sea" and loop back to the beginning of the tour by clicking here.
Jars do not pour well; they keep their contents bottled up sometimes calm and sometimes stormy. If there were no waters there would be no storms like we know. I hope all the water melting at the ice caps of our earth is stored in the atmosphere and we will remain a green earth. I hope life here will continue for my grandchildren's children for as long as can be imagined.
UP DATE, September 28, 20009 I am continuing my interest in the meaning of shapes of vessels in my current Children's Ceramic Project.
Sunrise, sunset, sunrise the spiral of time turning clockwise like a dancing vessel. War time rips into the fabric of time, the circle dance is either coming together or flying apart as in Matisse's Dancers, 1918. The chrysanthimum photographed by my grandfather in 1930 moves with cosmic time. Is it cut off from the earth? Will it survive? In the cycles of the seasons there will be another Spring and a rebirth.
UPDATE : September 28, 2009. I am continuing my interest in the expression of our humanity in the Children's Ceramic Project.
Tuesday, November 08, 2005
|I saw a dried up daisy sprouting new life in our yard. It got me to thinking. The seed pod was a vessel like a womb. The vase also like a womb is my symbol for creation and the beginnings of all time. Out of the dark comes life again and again.|
UPDATE: September 28, 2009 All of my past paintings of vessels and vases prepared me for symbolizing what people feel is most precious to them.
|UPDATE: September 28, 2009 This is a painting of the hidden insides or basic core of my antique Chinese Mille Fleures Vase made around 1920. I have tried to look down the neck of the vase and can not see the entire interior. It hides something. Something more than physical. I can no longer talk to my grand father who gave it to the family. It has potential that i am exploring in the Children's Ceramic Project.|