About the classes:

In this four week course, Kelly will be teaching techniques from the Sight-Size method using photographs as the reference.

Students will be instructed to use a plum line and a mirror, as well as an emphasis on shadow patterns, heights and widths, and getting distance from the drawing in order to see shapes and shape relationships more accurately.

Images to draw from will be provided.

Sight-Size is an extremely effective tool for improving drawing skills regardless of a person’s level of experience or innate ability. Kelly studied Sight-Size at the Charles Cecil Studios in Florence, Italy from 1997-2000 and has been teaching drawing and painting for over twenty years.

Kelly McCullough Artist Statement

In philosophy, systems theory and the sciences, emergence is the way complex systems and patterns arise out of a multiplicity or relatively simple interactions. To come forth into view as if from obscurity, a ship emerging from the fog. To watch a painting emerge from the canvas through a series of seemingly haphazard brush strokes, vague and ghostly at first, precise and refined at the finish is a magical experience.

It is important not to overwork, or “kill” a painting. The work that is met with the strongest response is often that which seemed to happen on its own with minimal conscious effort on my part. This can be frustrating when a belabored work goes unnoticed while one that took little time and effort is praised and admired. I have to constantly remind myself to get out of my own way and allow the painting to emerge. The technique I use when painting is called site-size. This tradition extends back through the French and British Schools to masters such as Titian, Rubens, Van Dyck and Velázquez. Its ultimate source lies in the theory and practice of Leonardo da Vinci. I studied this classical method in Florence, Italy, at the Charles Cecil Studios for 4 years and it changed my approach to painting and drawing. Site-size is a means of accurately representing nature while maintaining a loose and naturalistic quality in the work.

My undergraduate degree was in photography, which has strongly influenced my painting. I tend to focus on light effects, reflections, shadows and highlights. My main interest is portraiture, but in still life I am drawn to painting shiny, reflective objects, which over time and repeated studies develop their own personalities, attitudes and relationships. Or perhaps I spend too much time alone with them in my studio…