It’s great to be compared to somebody famous! Not only does it feel good but it’s a good way of looking at my work from a different perspective and an opportunity to broaden my artistic experience.
So here’s Claes Oldenburg: He was born in 1929 and died in 2009. He was Swedish but practiced in America. Best known for his sculpture… which is maybe why I struggled to find his drawings? He was mainly known for his public art installations and large-scale replicas of everyday objects… often in soft sculpture.
I can see only a passing resemblance – his drawings are delicate and ‘hang’ in space. They don’t feel finished (but that may be because I know he mainly did sculptures and assume they’re preparatory drawings?)… whereas mine is definitely the end of a process… not a part of it.
Both mine and his are ‘colored in line drawings’ (especially his shuttlecocks).
But I think mine is much bolder and the power is in the sketch. My sketch is a finished product. It’s captured some of the energy that went into the drawing and the brutality of the raw power of a hammer.
You bash things with it!
I don’t see the similarity.
Firstly, his style changed over time… the last canvas ‘Reserved Table’ from 2000 reminds me of a Braque or early cubist Picasso. On this the lobster is photorealistic… but I wouldn’t say my pots are photorealistic… they’re more exaggerated colour bent to shape. So, if there was a comparison it would be with Patrick’s earlier work.
These have hard black lines filled in with flat colour, no colour modelling, simplified shapes, they are flat and pattern like, like Matisse’s ‘The Dinner Table’. Even in his, Santa Margherita Ligure, 1964 (board) there are just a few lines to suggest the waterfront hotels and sea… the rest is flat blue colour – both sea, waterfront buildings and sky.
Doris must have seen something… maybe it’s a mood for strong colour? Or the (almost) flat blue of the tablecloth?
Apart from technique my aim was to capture the warmth of the sunshine in the red terracotta pots. The emotion of Summer. And (to an extent) the pots are meant to be realistic… if heightened. The fence is obviously a fence and the grass is grass.
But his prints and early work appears stark and beautiful to me… paired down… distanced… aesthetic… peaceful. And perfect for his screen prints.
Mine was emotionally driven and representational.