People's Choice Award and Works in Progress... 2.11.2013

People's Choice Award

This afternoon my niece, Liz, and I went to pick up my paintings at the Nevins Memorial Library and were surprised to see that there was an additional award hanging near “#25 Remaining Blameless” – it had won the People’s Choice Award!

What had started out as an opportunity to receive some feedback regarding the I Ching Project has far exceeded all expectations I had for this exhibition. My intention was simply to show the pictures, to listen to what the guests were saying about them and to meet other artists. To have won three awards – especially the People’s Choice Award – was completely unexpected.

I would like to thank everyone who came out to see the show and gave me such positive comments and wonderful advice about the direction of the project.

#31 Mingling - In progress

Now I would like to take the opportunity to keep my promise to my Aunites on the west coast and show some works in progress as well as some recently completed ones:


"#45 Mingling" is still in it's preliminary stages, the essential design has been laid out, but none of the shapes have been filled in yet. There is still a lot of work that needs to be done, but now that the painting has been named, the rest of the design should come pretty quickly.



#31 Attraction - In progress

With "#31 Attraction" I continued my experiment with Chinese lattice work design. I have had difficulty in the past adapting my designs to straight lines, but feel that this has been more successful than previous ones I had worked on. Most of the shapes have been filled in and the next step is to add the hexagram and the Chinese character. The final step will be adding the ink layers.






#58 Truth - In progress

In "#58 Truth", I have continued to work with adding a Celtic Knot to the design. Ultimately, this piece will have a vertical line almost halfway through the painting. The idea is to incorporate the Chinese lattice work on a larger scale.











With "33 Retreat", I decided to move away from a more structured approach and work more loosely. One of the many pieces of advice I received at the show was to try to keep the designs simple, despite my instinct to make them more complicated and challenging.














"#41 Reduction" is actually ironically named, as the Celtic Knot design has actually got more involved and complicated, but the biomorphic design has become more restrained.

"#49 Revolution" is the first painting that I experimented with Chinese lattice work designs. As I mentioned previously, I have had difficulty incorporating straight lines into my designs in the past - mostly failed Celtic Knots containing straight lines - but this design allowed me to see that there is still a lot to be explored before this project is completed.




Jenn White
White Rooster Studios