les tapies - the newsletter

2 Issue 1 Les Tapies, Summer 2015

Amy, Vermont, United StatesDrawing & Painting and

History of ArtExcursion to Abbey

of Mazan

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Les Tapies People

3Ardèche, France

Daniel, PortugalArchitecture and Design & BuildExcursion to Avignon

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Les Tapies People


Gordes

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On the Road with Les Tapies

O n Wednesday, July 1st, students were treated to a packed day of travel. After waking up earlier than normal - at around 6am - the

programme hit the road for the first destination of the day: the hill town of Gordes.

After about two hours in the car, the sleepy students were roused to take in the incredible view of Gordes, visible from a dedicated viewing spot in the cool shade of eucalyptus trees.

After a few minutes, students returned to the vans for the short drive into Gordes itself, where they were given a half hour rest stop. Many paid visits to the town’s fine boulangeries, and before long, students were back in the vans for the ride to Sénanque.

Yiran at Sénanque

Excursions

“Sénanque was like another world. Incredibly serene. You

would never guess how old it is because it has been maintained so well”

-Camila Aguais, Art History Staff

5Ardèche, France

Abbey of Sénanque

A t the Abbey of Sénanque, students were given about two hours. They quickly got to work photographing and sketching the

beautiful site, with some sitting on the abbey’s walls and others under trees amongst the lavender as they worked.

By this time in the afternoon, the temperature had reached approximately 32º C (90º F), yet students worked solidly for the entirety of the stay, producing some very strong pieces of work.

With cameras and sketchbooks already overflowing, students returned to the vans for another brief ride, this time to the historic and distinctive Bori village in Gordes. The Bori village is a restored village of unique, dry-wall buildings distinguished by their thick walls and tiny windows which would have ensured their inhabitants cool summers and warm winters.

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Excursions


Bori Village, Gordes

C onstructed in the 16th century, the village was in a state of disrepair until the 1970s when it was restored and opened to the public as a

museum.At the site, students had the opportunity

to watch a documentary explaining both the historical significance and restoration process of the village. When the village was inhabited, each building served a very specific purpose: some functioned exclusively as dwellings while others were used as workspaces or for storage.

The architects took particular interest in the buildings’ simple, ingenious construction - built without any type of mortar, they are composed entirely of thin, flat slabs of stone.

Each of the buildings were open, and programme participants were free to explore the interiors of the structures. Students obliged - at this point in the mid-afternoon, temperatures approached 40º C.

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“It was a thrilling experience to see architecture preserved in

its original state... after centuries of natural weathering.”

-Claudia Chung, Drawing & Painting and History of Art

7Ardèche, France

A fter about 45 minutes at the Bori site, students set off for Avignon, the final destination of the day. The city, famous for the Palais

des Papes, is completely walled and once played host to several Popes during the Papal Schism. Students’ time here was unstructured, and they were left to their own devices as they explored the city.

Some students shopped, others visited historical sites of note, and others spent their time in cafés. Many took advantage of Avignon’s open air dining, even though it was still extremely hot.

At the end of the day, everyone, including Les Tapies director Fernando Gonzalez (pictured), was exhausted. Students piled into the vans one last time for the car ride back to Les Tapies, where gazpacho and cheese tarts awaited them.

Avignon

Excursions

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Director Fernando Gonzalez

“Avignon was beautiful. The Palais des Papes was

really impressive and grand. Its architectural structure emphasised its emptiness. It was a miasma of sensations.”-Veronica Kuznetsova, Drawing &

Painting and Photography

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Laura, Puerto RicoDrawing & Painting and

History of ArtLes Tapies Study

Les Tapies People

9Ardèche, France

Andreea, BelgiumDrawing & Painting andPhotographyLes Tapies Study

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10 Issue 1 Les Tapies, Summer 2015Drawing & Painting

Drawing Session, Les Tapies

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D uring the first ten days of the programme, Les Tapies Drawing & Painting students have pursued a series of indoor and outdoor

studies which have engaged them in the essential processes of direct observation.

They have worked with elements of the landscape, architecture, still-life, the portrait head, and the anatomy of human figure. They have also experimented with abstraction and have explored color through both wet and dry media.

By working with a wide variety of media such as graphite, ink, charcoal, conte chalk pastel, watercolour, acrylics, and oil, students have gained important insights into studio practice and have discovered that each medium has its own very unique properties and presents challenges that are exciting and often quite daunting as well!

An exposure to art history through the examination of artists from many eras (from the Neolithic artists of Chauvet Cave to Caravaggio, Cezanne, John Singer Sargent, Edward Hopper, Picasso, and others), has introduced students to

Breadth and Depth in Drawing & PaintingBy John SmalleyInstructor in Drawing & Painting, Photography

Portraiture, Drawing & Painting Studio

Ardèche, France 11Drawing & Painting

Life Drawing, Les Tapies

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Still Life, Les Tapies

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important evolutionary innovations and ideas in the visual arts. Finally, students have been encouraged to explore and examine, through written reflections, their own ideas about what it is that has always made art such a compelling, essential and indispensible human activity!

“What an incredible place for working from the figure and

injecting the students’ drawing skills with a sense of urgency”

-Camila Aguais, Staff ‘15

“How fantastic for students to have the opportunity to

draw from a live model in a concentrated, professional manner. Most would not get this opportunity before college”

-Kyle Lemon, Les Tapies Student ‘13, Staff ‘14, ‘15


Yiran, ChinaArchitecture and

Drawing & PaintingFirst Charrette

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13Ardèche, France

Roberta, GermanyDrawing & Painting andPhotographyExcursion to Abbey of Mazan

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14 Issue 1 Les Tapies, Summer 2015Architecture

Architects’ First Charrette

Design for Chalencon Summer Kitchen

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T he architecture majors have undertaken two challenging design projects this summer. The first was to work as a team to develop a

scheme for an outdoor covered kitchen, which is presently being built by our local farmer, the Chalencons. After recording measurements of the site, interviewing the “client”, and visiting an existing outdoor kitchen as part of their research, the students spent the first week designing and doing presentation ink drawings to communicate their ideas to a jury during a charrette session.

The very successful design was used as docu-mentation for submitting a planning application to gain approval for a “permis de construction” to the authorities. The quality of the drawings and excellent presentation to the jury were impressive, especially in light of the short period of time available and the lack of previous archi-tectural experience. It also revealed the students’ excellent team-building skills.

The last two weeks of the program will be spent

Design with the Client in Mind

By Fernando GonzalezProgramme Founder and Director

15Ardèche, France Architecture

Architects’ First Charrette

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Architecture Meeting

designing a new residence at Les Tapies, with a part of the design being site analysis and blending the new building into the existing hamlet. The students will build on the skills developed in the first project, and add additional skills to present their designs at the final charrette at the end of the program. The initial efforts reflect a level of so-phistication and complexity required of a sloping site with challenging access both for pedestrians and vehicles.

In addition to plans, elevations, a section and a site plan, students will construct a scale model of their new build to integrate into the Les Tapies site model, from which they will do a water colour perspective, following a workshop by Drawing & Painting instructor John Smalley. By the end of the program, the architecture students will have had the opportunity to work with real design projects on actual sites, which is rare for even university students. In addition, they will have been exposed to all aspects of the architectural design process required of professional architects.

“Architecture is all about problem-solving. Designing

is all about providing options.”-Daniel Rosado, Architecture and

Design & Build


Bruno, United KingdomStaff - Programme Chef

Excursion toChauvet Caves

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Les Tapies People

17Ardèche, France

Sophie, DenmarkDrawing & Painting andDesign & BuildCairn Project

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18 Issue 1 Les Tapies, Summer 2015Photography

Photography Excursion, St. Sauveur

Photography Excursion, Les Ollières

D uring the opening two weeks of the programme, the photography students have devoted themselves almost

fanatically to the process of black and white film photography. The four students are all newcomers to a complex and elaborate process, requiring patience and a diligent focus on detail.

With guidance and expert insight from former TIME photographer Barry Iverson, the students have quickly picked up the fundamentals to film photography, and progressed into the more advanced aspects of photography.

Having the critical basics of film photography understood, the students have studied and analysed the work of landscape, portrait, and street photographers, such as Vivian Myers. This has given them a large repertoire of styles and themes to emulate and integrate into their own work.

There has been no shortage of opportunities for the students to capture their own work, as Barry, through his field expeditions, has taken

Shedding light on the darkroom

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By Kyle LemonStaff in Photography, Design & Build

19Ardèche, France Photography

the students to nearby locations to give them a wealth of subject matter.

Through the combination of newly acquired skills, concepts, and volume of work, the pho-tographers have developed their negatives and have produced some outstanding and alluring prints. Their attention to detail and devotion has been nothing short of outstanding.

To top off the incredible progress and exposure to varying styles and content, the students travelled to Arles to see the internationally renowned Les Rencontres photography festival. There, the students saw expositions of distin-guished photographers such as Martin Parr and Stephen Shore. They also saw new projects from Thierry Bouët, Ambroise Tézenas, and Markus Brunetti, which were each original and incredibly captivating.

With the substantial amount of content the students have collected through their various assignments and the multitude of concepts obtained through excursions and study, the program eagerly awaits the final production and presentations from the photography students.

Sunflowers by the Autoroute

In the Film Lab

Excursion to Arles

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“Students haven’t just gotten their feet wet in photo - they’ve

been completely submerged”-Thurston Smalley, Photography

and Publishing Staff

20 Issue 1 Les Tapies, Summer 2015Les Tapies People

Kyle, CanadaStaff - Photography and

Design & BuildCairn Project

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21Ardèche, France

Rali, BulgariaArchitecture andDesign & BuildCairn Project

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22 Issue 1 Les Tapies, Summer 2015Design & Build

O ver the past two weeks, Design & Build members began the arduous process of adding a new amenity to the hamlet. The students met in

the Architecture studio with Fernando Gonzalez and had an initial meeting to decide on the new project to be undertaken this year.

With Fernando’s guidance, the new assembled group of contractors decided on adding a stone bench, trellis, and concrete wall behind the top building of the hamlet, La Salle. They also agreed on building a new cairn at the entrance of the hamlet, to add an inviting and welcoming piece to the driveway.

After this initial meeting, the students split into two groups, one to measure and complete design plans, and one to collect tools and materials for the building process. With a concentrated and disciplined work ethic, the task was completed quickly by both of the groups.

With the preliminary work completed, the students, assisted by Kyle Lemon and Alex Bruno, began to move the larger stones to provide the

Leaving a lastingmark on Les Tapies

Mixing Cement for the Cairn

Building a Retaining Wall

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By Kyle LemonStaff in Photography, Design & Build

23Ardèche, France

foundation for the bench and cement wall, whilst some also meticulously chose specific rocks for the cairn. As these stones were placed, cement was mixed to help bind the selected stones together.

Over the last two sessions, the bench has been completed, whilst the base for the cairn is ready for the more decorative pieces to be added. Thus the progress of the projects and the effort contributed by the students has been outstanding.

The Design & Build team has progressed through their projects briskly and effectively, without a loss to the detail needed for such an endeavour, displaying the speciality of this group. The programme is looking forward to the continuing progress of the group and their final product.

Design & Build

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“The students have been tested in their physical and

mental capabilities in learning the principles of construction, but through this challenge they have learned a great deal and have had fun whilst completing a project they can call their own.”

-Kyle Lemon, Photography and Design & Build Staff

24 Issue 1 Les Tapies, Summer 2015Les Tapies People

Clara, FrancePhotography and

Drawing & PaintingExcursion to Arles

25Ardèche, France History of Art

the image the more one is at a loss for words. One finds themselves lost in the picture trying to find a way to describe exactly what causes the enchanting effect that the image holds. The question may pass through the viewer’s mind multiple times, what is it about the image that is so alluring and calming? Why does the image seem so mystical and involving? The viewer, for a moment, will think that they have found the source for this mystical effect but soon will realise

I n Scattered Forest by Kyle Lemon, the black and white lighting create tonalities that make an alluring image. The light of the ferns seems to bring out the dark

lighting of the trees causing the depth of the picture to be accentuated. This brings out the centered tree and creates a slightly dramatic effect that captures the viewer’s full attention. The leaves in the background also cast a calming atmosphere in the picture and get the viewer to really look at the image.

It seems like the more one tries to describe

that they do not know the answer.It entrances one in the forest itself and causes

the viewer to lose themselves between the translucent ferns and the ever-present trees. It makes the viewer feel like they are in front of the central tree. The picture soothes the viewer by allowing them to fall into the image. It is as if the image pulls one in to a different yet familiar world and causes one to surround themselves completely with the image itself.

By Laura E. Cardoza RamírezStudent of Drawing & Painting, History of Art

Reflection: Scattered Forest

Scattered Forest by Kyle Lemon

Few questions arise when I reflect on this piece about the figure himself. Because the title reveals who he is, I assume Camila asked her brother to pose for the drawing. Instead, I wonder about the process she used to obtain the movement in her drawing.

Did she always intend to make some lines only to smudge them out? Was her brother moving while she drew him? Did she envision her piece with the same energy? To me, Brother is much less about a story or situation being captured than it is about the electricity Camila achieved in her final product.

B rother, a charcoal figure drawing by Camila Aguais, can be summarized by the way it captures movement. This dynamic piece takes

advantage of the charcoal as a medium to provide character by pushing, pulling, smudging, and erasing. At first, the eye is drawn towards the man’s face due to its heavily highlighted right side. The eye of the viewer will then tend to follow the man’s arm down to his outstretched hand. The piece is made more organic by the layers of searching lines, or pentamenti, on the foreshortened hand as well as the scattered fingerprints. Amid the black charcoal, white and neutral highlights bring life to the figure. You can tell that every variation in mark making is created to ensure the absence of stillness throughout the drawing. However, despite the vibration of lines, a sense of balance remains constant.

By Emmy FrazierStudent of Drawing & Painting, History of Art

Reflection: Brother

“To me, Brother is much less about a story or situation

being captured than it is about the electricity Camila achieved in her final product.”

“It seems like the more one tries to describe the image

the more one is at a loss for words. One finds themselves lost in the picture trying to find a way to describe exactly what causes the enchanting effect the image holds.”


the image the more one is at a loss for words. One finds themselves lost in the picture trying to find a way to describe exactly what causes the enchanting effect that the image holds. The question may pass through the viewer’s mind multiple times, what is it about the image that is so alluring and calming? Why does the image seem so mystical and involving? The viewer, for a moment, will think that they have found the source for this mystical effect but soon will realise

I n Scattered Forest by Kyle Lemon, the black and white lighting create tonalities that make an alluring image. The light of the ferns seems to bring out the dark

lighting of the trees causing the depth of the picture to be accentuated. This brings out the centered tree and creates a slightly dramatic effect that captures the viewer’s full attention. The leaves in the background also cast a calming atmosphere in the picture and get the viewer to really look at the image.

It seems like the more one tries to describe

that they do not know the answer.It entrances one in the forest itself and causes

the viewer to lose themselves between the translucent ferns and the ever-present trees. It makes the viewer feel like they are in front of the central tree. The picture soothes the viewer by allowing them to fall into the image. It is as if the image pulls one in to a different yet familiar world and causes one to surround themselves completely with the image itself.

By Laura E. Cardoza RamírezStudent of Drawing & Painting, History of Art

Reflection: Scattered Forest

Scattered Forest by Kyle Lemon

Few questions arise when I reflect on this piece about the figure himself. Because the title reveals who he is, I assume Camila asked her brother to pose for the drawing. Instead, I wonder about the process she used to obtain the movement in her drawing.

Did she always intend to make some lines only to smudge them out? Was her brother moving while she drew him? Did she envision her piece with the same energy? To me, Brother is much less about a story or situation being captured than it is about the electricity Camila achieved in her final product.

B rother, a charcoal figure drawing by Camila Aguais, can be summarized by the way it captures movement. This dynamic piece takes

advantage of the charcoal as a medium to provide character by pushing, pulling, smudging, and erasing. At first, the eye is drawn towards the man’s face due to its heavily highlighted right side. The eye of the viewer will then tend to follow the man’s arm down to his outstretched hand. The piece is made more organic by the layers of searching lines, or pentamenti, on the foreshortened hand as well as the scattered fingerprints. Amid the black charcoal, white and neutral highlights bring life to the figure. You can tell that every variation in mark making is created to ensure the absence of stillness throughout the drawing. However, despite the vibration of lines, a sense of balance remains constant.

By Emmy FrazierStudent of Drawing & Painting, History of Art

Reflection: Brother

“To me, Brother is much less about a story or situation

being captured than it is about the electricity Camila achieved in her final product.”

“It seems like the more one tries to describe the image

the more one is at a loss for words. One finds themselves lost in the picture trying to find a way to describe exactly what causes the enchanting effect the image holds.”

26 Issue 1 Les Tapies, Summer 2015History of Art

Reflection: JudgmentJudgment by Kyle Lemon

power they display. At this point, one may begin to question the title of said print: who is the ‘judged’, and who is judging? With age comes, not necessarily wisdom, but always experience. Does this mean the so-called judgment is coming from the aged statues? If so, what, or in this case, whom are they judging?

This question can be posed in a multitude of ways, but viewers might uncover the answer by studying the position in which the statues are captured by the camera. The slightly upward angle places the viewer solidly beneath the statues. This view gives the otherwise still figures an eerie and silent power - a power that can be felt in the hearts of the audience. The statue that is situated closest to us seems to intensify its grandeur and immense power through its posture: an upraised arm over the head, frozen in the act of striking down a hammer. Incidentally, it is poised perfectly over the girl in the bottom right corner of the frame. As viewers, we can feel a looming fear, perhaps of being physically struck by the heavy swing of a hammer or perhaps of the judgment from the eyes of these all-seeing beings.

In the end, Judgment urges us to reflect on all our previous decisions. Most importantly, we are reminded of the inevitable judgment that we all receive for these decisions. As a result, we may

T he use of black and white often reduces our emotions to their most raw form; it strips off the fancy décor we tend to layer onto our

emotions and actions. Judgment by Kyle Lemon fully captures this bareness in both its content and theme. The smooth lines and crisp darks encourage us to see the world and, to some extent, see ourselves in a similar nakedness.

The contrast in the print casts the scene in a slight gloom, allowing a mounting pressure to seep through the print surface from the statues standing on their pedestals. The gloomy shadows behind these statues enhance the strength and

even end up projecting ourselves onto the girl in the corner. Her lack of notice towards the impending strike of the hammer is a feeling we can all relate too.

We, as humans, are all unknowingly judged and judging of those around us. As a result, when we first encounter this piece, we experience an appropriate panic and instinctual need to quickly reflect upon ourselves. Perhaps this is a way to assure our minds that we will receive only a fraction of this judgment.

“Judgment by Kyle Lemon fully captures this bareness

in both its content and theme. The smooth lines and crisp darks encourage us to see the world and, to some extent, see ourselves in a similar nakedness”

By Claudia ChungStudent of Drawing & Painting, History of Art

“In the end, Judgment urges us to reflect on all our previous

decisions. Most importantly, we are reminded of the inevitable judgment that we all receive for these decisions. As a result, we may even end up projecting ourselves onto the girl in the corner. Her lack of notice towards the impending strike of the hammer is a feeling we can all relate to”


Reflection: JudgmentJudgment by Kyle Lemon

power they display. At this point, one may begin to question the title of said print: who is the ‘judged’, and who is judging? With age comes, not necessarily wisdom, but always experience. Does this mean the so-called judgment is coming from the aged statues? If so, what, or in this case, whom are they judging?

This question can be posed in a multitude of ways, but viewers might uncover the answer by studying the position in which the statues are captured by the camera. The slightly upward angle places the viewer solidly beneath the statues. This view gives the otherwise still figures an eerie and silent power - a power that can be felt in the hearts of the audience. The statue that is situated closest to us seems to intensify its grandeur and immense power through its posture: an upraised arm over the head, frozen in the act of striking down a hammer. Incidentally, it is poised perfectly over the girl in the bottom right corner of the frame. As viewers, we can feel a looming fear, perhaps of being physically struck by the heavy swing of a hammer or perhaps of the judgment from the eyes of these all-seeing beings.

In the end, Judgment urges us to reflect on all our previous decisions. Most importantly, we are reminded of the inevitable judgment that we all receive for these decisions. As a result, we may

T he use of black and white often reduces our emotions to their most raw form; it strips off the fancy décor we tend to layer onto our

emotions and actions. Judgment by Kyle Lemon fully captures this bareness in both its content and theme. The smooth lines and crisp darks encourage us to see the world and, to some extent, see ourselves in a similar nakedness.

The contrast in the print casts the scene in a slight gloom, allowing a mounting pressure to seep through the print surface from the statues standing on their pedestals. The gloomy shadows behind these statues enhance the strength and

even end up projecting ourselves onto the girl in the corner. Her lack of notice towards the impending strike of the hammer is a feeling we can all relate too.

We, as humans, are all unknowingly judged and judging of those around us. As a result, when we first encounter this piece, we experience an appropriate panic and instinctual need to quickly reflect upon ourselves. Perhaps this is a way to assure our minds that we will receive only a fraction of this judgment.

“Judgment by Kyle Lemon fully captures this bareness

in both its content and theme. The smooth lines and crisp darks encourage us to see the world and, to some extent, see ourselves in a similar nakedness”

By Claudia ChungStudent of Drawing & Painting, History of Art

“In the end, Judgment urges us to reflect on all our previous

decisions. Most importantly, we are reminded of the inevitable judgment that we all receive for these decisions. As a result, we may even end up projecting ourselves onto the girl in the corner. Her lack of notice towards the impending strike of the hammer is a feeling we can all relate to”


Reflection: Paul Heads NorthPaul Heads North by John Smalley

prehensible number of brushstrokes and shades of colors make up the great expanse that is the ocean. The amount of detail with which the artist paints is the very key to how he can transport the viewer from their place studying the painting to this shoreline with Paul and his dog. There are colors one would never expect to see in a real ocean – deep purples, heather gray, baby blues, and olive greens. This simply speaks to the artist’s skill both in his creative vision and in his execution.

Similarly, the sky that John has created is almost overwhelming in its beauty and complexity (although he still says that it is not finished yet). The range of colors used, from blue-greens to indigos to lavender purples, show his fearless way of painting and also the unique style that he brings to the table. The slightly stormy effect of the clouds make the viewer wonder what the real story is. Is the man rushing home with his dog in tow in an attempt to avoid the incoming rain? Or maybe the rain washing over him is what truly makes him feel at one with nature surrounding him.

P aul Heads North is an extremely detailed and thought-provoking piece by John Smalley. The seemingly endless waves and sheer depth of the

semi-clouded sky are what consume the viewer at first glance. Next to occupy the attention is the man walking away from the viewer toward an unknown destination who is trailed close behind by his loyal dog who encourages the viewer to tag along as well.

The subject of the painting is fairly basic – a man followed by his dog as he walks along the shore. The actual painting; however, is anything but simple. It is easy to see just how much care and hard work has gone into the creation of this work of art. The ocean is full of waves just like any other body of water, but when the time is taken to truly look at the painting, the viewer is rewarded with an intense amount of detail and color. An incom-

Whatever the true story may be, the slight mystery that hangs behind the layers of oil paint makes the piece even more interesting. The viewer is forced to draw their own conclusion and create their own story from the mere guidelines provided.

One of the most stunning parts is the way he was able to capture with paint how the light hit every fold of the man’s jacket, every crest of the waves, and every muscle of his devoted companion’s body. In using some of the same blues, grays, and greens from the ocean and the sky in his painting of the man and his dog, John has made it seem like they are almost part of the landscape, like they belong there.

John’s greatest goal in his art is to capture the present moment and he has most definitely achieved that in this piece. He has created a painting filled with beauty, color, detail, mystery, and emotion. What is practically an impossible task for some is merely the baseline for John as he continues to show us with every piece that he creates.

By Amy DeLaBruereStudent of Drawing & Painting, History of Art


Reflection: Vannie’s French PlaitVannie’s French Plait by John Smalley

centrally focused. So, a viewer is thinking only about this girl and nothing interrupts them from going deep in her mind, trying to find clues about who she is. It’s all hidden from the viewer’s eye. We can’t see her face, but it’s impossible to look at her without asking yourself a lot of questions again and again. What is she thinking about? The mystery is the most attractive and mesmerizing aspect of this work. This painterly work is static but you feel that a lot is happening on the other side of painting. We don’t usually look at people from this angle. It adds a charm and a story to this work that we will never know.

But what if on the hidden side there is an optimistic and careless young girl with a

V annie’s French Plait by John Smalley is a thought-provoking artwork, which combines rough texture with a smooth, detailed and delicately

made braid. The structure of this painting is slight and organic. Deep-blue colours on her clothes contrast against her light braid with bright orange accents. This is harmonised with the surroundings. Warm colours make it look incredibly soft and calm. These tonalities and contrasts make this work so unique and attractive. The composition is simple and

bright-blue ribbon? Maybe she was enjoying every moment of her life and in exactly that second when she was running somewhere, laughing, having this spectre of emotions, she was stopped by an artist, so he was able to capture this moment. This moment will forever be a mystery. I see harmony and innocence.

It doesn’t have a direct message. I think that someone may feel that this girl is hiding something from us, but from another point of view, we are very close to her, so maybe she lets us know a little bit more? As it is said in the description of this work, it is “the balance between anonymity and individuality” which I think is a perfect definition of this painting.

By Polina GlushkovaStudent of Drawing & Painting, History of Art

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