Tag Archives: les ann holland

Final Mentor Meeting


Leslie and I had our final in-person mentor meeting on Friday, May 23–and we really wrapped up a productive semester. Leslie’s help was pivotal. She asked incredibly important, relevant, often philosophical questions, allowing me to arrive naturally at fruitful answers, without ever feeling disarmed or pressured.  I was able to be myself, with expert guidance, and I’m hugely appreciative of her incredible wisdom and open-minded approach.

Since we had spent so many hours analyzing the digital stills this semester, we talked less about them as individual units this time and more as an overall, blended language.

We referred back to the set of stills as we talked about other developments, however.
Especially this one:



The big painting is about 3/4 of the way complete and Leslie was excited about it.  My primary question was whether this was an avenue worth investigating, to which Leslie answered a resounding YES!

The painting started as a mutation of a side exercise Leslie had suggested during our very first meeting. Like the digital Cascade, it took on a life of its own and rapidly moved from exercise to breakthrough.

We talked about ways in which the painting spoke to digitality, without simply performing as a static copy of a digital printout. We also discussed line, color palette, the ambiguous, elastic-space environment and other formal and conceptual considerations. Leslie did an intense micro/macro reading of the painting surface, analyzing everything from moment-to-moment passages and color shifts to the language of mark-making and individual transitions–then we dug into its method of communicating the ambiguity of physical and social space so important to both the transitional television stills and my bigger body of work.

Overall, she was intrigued by its ability to stand up to reading both near and far, and by its fresh interpretation of the digital as counterpoint.

We could see a series of these shown in relation to video projection and digital stills–various expressions of the Cascade with different dialects, thus offering different avenues of analysis without being repetitious.

We also dug deeply into what seems the most important aspect of the painting: how it radically changed the way I work in paint.

I’m normally a fast painter, owing to my quick, responsive engagement with the content. I strategize the whole and attack. I know what needs to be done and I work to complete it as a continuous drive.

For example, we spoke about this older still life I had in the studio:



For rendering the study above, I conceptualized the whole and dug in. It was a matter of fleshing out a complete idea where most of the planning and discovery takes place off-canvas.

What’s different with this new painting is my approach to resolving the image. Of course the style and purpose of these two works are different, but that’s not the point I’m making. In fact, Leslie pointed out that my treatment of the seemingly flat areas in the fruit study (especially the lower right, just beneath the right pomegranate) resemble the moment-to-moment shifts in the large painting (and the digital work). So, *I* am still very much doing what I have always done–just cracking it open and freshening it up.

For this new painting, I am combining three different Cascade stills, themselves already multi-layer combinations of other stills, drawings and prints.

Rather than combine them in Photoshop, print it out and copy in paint–I am mixing them in real time on paper. Deejaying, in a way. Sampling bits from each and whirling them together. I have an overall intention, but as I work into the painting surface, I am responding to each individual moment, to each brush stroke, to each passage in a new way.

I am no longer diving in to simply fulfill an expressive objective.

Instead, this painting is a process. It’s a process of reactive discovery–an archaeological dig of moments that reveal themselves, shift, change, and reveal new encounters. It is behaving like a digital or printmaking process, allowing me to adapt and respond, analyze and uncover. 

It’s taking me much longer than painted works in the past, because it’s telling its own story as the story unravels.



Leslie was thrilled. I seem to have made an important breakthrough which allowed me to apply my digital and printmaking way of thinking to the immediacy of paint.

It takes me out of my plan-ahead strategist brain and puts me in a new, adapt-as-you-go-within-a-bigger-plan method, a la The Art of War. So I paradoxically have a plan blueprint, but my movements change from hour to hour.

Taking away the rigidity of the finite plan in execution allowed the painting to open up, to speak to digitality, to speak to the concept–and Leslie and I both felt it’s an important avenue of investigation.


We also talked about some of the first output Horizons (above). They came out way too dark, but Leslie encouraged me to let go of my dissatisfaction with the printing process and to look at them for what they are, for their scale, their internal nature and their “happy accident” color palette.

We analyzed them for a while, with Leslie suggesting what might happen if they were selectively excavated. Would a smaller snippet still speak to the whole? This is kind of like the micro zooms idea.

The long, desert-evoking horizontality is important in these and I’ll be printing a couple more to take with me to gauge interest. Leslie also suggested she liked multiple horizons stacked, just as Conor had mentioned last week.


We covered a lot of ground, went back over many of our earlier discussion points from other meetings and Leslie rounded it all out by taking a personal interest in my preparation level for the residency. We tackled any concerns had for the upcoming trip and we discussed the nuts and bolts of getting the most out of even the most problematic critiques.

She genuinely cares about how confident I feel and how capable, equipped and ready I feel for the Fall semester and offered to meet again if I need it during the final week of May. I will be sending her updates on the videos I’m reworking, as well as the painting, but I think she prepared me well. Thanks, Leslie!


Second Mentor Meeting


The first incarnation of the “iconic” tree and the marching firemen. We followed the evolution of the tree and my little cast of firemen as they moved through multiple stills.

Had my second official in-person mentor meeting on Friday, though Leslie and I have also been conducting frequent discussions via email which have been tremendously helpful. The fact that most of the work is currently digital allows for productive virtual encounters, so we’ve covered a lot of conceptual ground even without face time, though I have not shared it all here. Expect detailed coverage of our virtual crits in my semester summary. 

The Friday mentor meeting went very well–lots of new analysis, ideas and potential. We see the first half of the semester as largely digital while the second half will be focused more on experimentation with physical output, including projection. I may also capture another flurry of new screen caps to blend into the mix and I will be focusing on several specific mini projects while continuing my frequent output.

We analyzed the appearance of a strong vertical “pillar” which haunts a number of the Cascade stills, pinning its Modernist origin and ties to my understanding of human-impacted landscape. It seems structurally and conceptually important, like the figures and vehicles in their own altered space, and warrants further investigation. The figures themselves, as Leslie pointed out, have taken on new roles, performing new, almost comedic, activities in these fractured spaces. They’ve become a cast of characters in a deliciously shattered narrative.

The veil present in a number of pieces suggests Cubist space, skewing perspective while simultaneously allowing (and directing) access to deeper points in space. Leslie found the veil effective and important, suggesting I play with it more extensively in future stills.

Scale is incredibly important and the pieces with scale variation within the virtual space behaved most effectively. Pieces with rigorous structure and mystery stood out. Pieces that were not as “superstar” sometimes behaved better as digital images, or as part of an animated sequence. Other times, they simply needed a contrast boost.

We did close readings of two or three stills that seemed fully resolved in a way that others were not (including the still below), analyzing why they felt complete and whether or not completeness was even a requirement. If it was not, what, then, could the never-ending unfinished be communicating?

Overall, Leslie is incredibly insightful, asks fruitful (and stimulating) questions and passes no negative judgment on the transition from traditional to new media.


One of the stills we felt was resolved and warranted close analysis.

A few tasks for the second half of the semester:

  • Produce several additional calculated animation strings to be projected on the wall, then project them. Consider the way video (and cast light) enters our physical, personal and social space in a way that flat paper does not. Do some pieces perform better as projections or digital iterations and do some perform best as output objects?
  • Work on the painted shape interpretations discussed in first crit once I have canvas.
  • Use existing batch of stills until the mid-term, then add a flurry of new stills to the mix.
  • Try more output on paper, both larger and smaller. See where the breaking point is. How much surface manipulation is too much, driving the piece too far from the digital?
  • Try an archive experiment. Group all of the existing stills into typologies. Figure out what the types are (more painterly, more literal, etc.), then build them into gallery-archives to see the many images in new ways. What emerges when things are grouped? What is different? Which aspects need to get left behind for progress?
  • Do some detail zoom-ins of selected moments from existing stills.

2514_5The above still was one which behaved better as a digital, or transitional frame in an animation, but was too flattened when output on paper. Some of the stills are meant to occupy in-between spaces.