Selective Seeing: Painting the Mind’s Eye View

The mind remembers, in fuzzy or vivid detail, snippets of history and portions of the whole picture. You might remember what dress you wore the first day of kindergarten but the rest of the school year is a blur. You may even have the outline burned in your memory of the peripheral view of those who were with you when you stood for an award, but can’t for the life of you remember who those people were. Or, maybe, you remember every little detail of particular event – the people, the scents, the colors of the sky, sounds of commotion but most important to you are a few key details of the moment. The apron grandma always wore, dad’s work boots, the color of morning on the farm. Those are the details we will bring into focus in this two-day intensive exploration in dreamscaping.

Working from real photos in large format, we will use a selective eye to set apart the points of focus from the background blur – both real and in our mind’s eye. Though there may be undesired parts of the photo, we will focus on over-painting using my developed “pastelcrylics” technique that brings a soft, painterly, dreamlike quality to the work, obscuring what you don’t want and enhancing what you do. Through exercises in selective focus and obfuscation we will recreate our memories and mental visions while exploring various painting and aging techniques that will give a new life, with a selective slant, to your pieces.

Stephanie will provide a large format print of each students’ personal photo
IMPORTANT NOTE: In order for Stephanie to have time to get large format prints made from your photographs, you will need to provide her with a high quality scan (e-mail) or color photo copy (snail mail) no later than two weeks before the event. If you are not able to do this, you will be working from a photo from Stephanie’s personal collection. This workshop will serve you best if you provide a personal photo to work from. Original photo size should not be smaller than 3×5”. The photos do not need to be perfect composition and the background isn’t important (but could enhance the overall composition if desired). Examples of good photos to work from: childhood home/farm, candid photos of loved-ones, a picture of you dancing as a child, etc. Old and slightly faded photographs are fine. Close ups of people or faces are not recommended. This class is better when working on photos with more background space.

Submit your high quality scan via email, or, if providing color photocopy, contact Stephanie via email for snail mail instructions