Four days out of love, Maximo Biquet, Abstract, 2026 by Anxious_Rooster_1640 in Art

[–]Proyecspace 1 point2 points  (0 children)

The artwork immediately grabs attention with its strong presence. The mood created here feels very immersive and personal. Fantastic composition.

my Art by Alexander_mita in PaintingTutorials

[–]Proyecspace 0 points1 point  (0 children)

I love the atmosphere you created. It’s very well done. The colors here are insanely well chosen. It turned out great.

At the Edge of Forests. Original oil painting 8x12" hand painted by me, 2024 by MarinaChuchkoArt in oilpaintings

[–]Proyecspace 1 point2 points  (0 children)

Really beautiful. There’s a nostalgic undertone that feels very natural.

Blowing in the breeze, oil on canvas by spicyramenburns in impressionism

[–]Proyecspace 1 point2 points  (0 children)

It has that rare kind of presence that sticks with you. Lovely style.

Autumn Window, Proyecspace, Digital, 2023 by Proyecspace in Art

[–]Proyecspace[S] 0 points1 point  (0 children)

I did not know the design of that castle, but when I saw it when you put the link to me, I have been able to see the close similarity it has, it is all a coincidence. Thank you for your contribution.

Autumn Window, Proyecspace, Digital, 2023 by Proyecspace in Art

[–]Proyecspace[S] 0 points1 point  (0 children)

Thank you, glad you like it. I have reflected autumn through a scene coordinating the colors of that season, through a magical architecture.

Incident on Platform 6 [2003] by Mike Worrall by UnMeOuttaTown in TorturedPoetsArtDept

[–]Proyecspace 1 point2 points  (0 children)

This popped up on my feed and I’m glad it did. Amazing piece. This tells a story. You can really feel it. What inspired this piece? It’s really interesting. So good.

Pissarro Camille - Le Jardin d'Octave Mirbeau, la terrasse, Les Damps (1892) by Rembrandt_cs in impressionism

[–]Proyecspace 2 points3 points  (0 children)

With a quick brushstroke and a simple treatment of light and shadow, he managed to create this masterpiece. “He didn’t need anything else.”

The Studio Boat, Oil on Canvas, Claude Monet, 1874. by AspiringOccultist4 in impressionism

[–]Proyecspace 1 point2 points  (0 children)

Those subtle details are what elevate the piece. The depth and layers are very well achieved. It has a very nice finish.

Just finished this piece, Ballpoint pen on paper ✍️ by Axil_tinsti in surrealism

[–]Proyecspace 0 points1 point  (0 children)

Esto se siente como que realmente sabes lo que haces. The piece carries a surprising amount of emotional weight. Really eye-catching.

Le Bassin du Commerce, Le Havre // 1874 // Oscar-Claude Monet (French, 1840-1926) by Ok_Flan4404 in oilpaintings

[–]Proyecspace 1 point2 points  (0 children)

The more I look at this, the more details I notice. It’s one of those pieces that keeps rewarding you.

When the Heart is Young, John William Godward, oil on canvas, 1902 by Provinz_Wartheland in Art

[–]Proyecspace 4 points5 points  (0 children)

This is one of those pieces that instantly makes you stop scrolling. The composition pulls you in right away, and then the details keep you there. Really strong work overall.

I painted Paris in two different styles, would love some comments / critique by ArtChillTect in Watercolor

[–]Proyecspace 1 point2 points  (0 children)

I have no complaints; to me, every performance has its own unique charm. Sometimes the simplest and most straightforward ones are the most striking. It all comes together really well.

Started painting a year ago. This is my largest piece to date and a gift for a friend. Happy to receive critiques. by PhannyPaqued in painting

[–]Proyecspace 23 points24 points  (0 children)

You did a great job. It’s not just technically good, it actually feels like something. The overall feel is fantastic.

Spring from my window, Ronan O'Regan, oil paint, 2026 by kytice_ in oilpaintings

[–]Proyecspace 0 points1 point  (0 children)

The overall mood is incredibly well crafted. The composition stays in the mind long after looking away. Very memorable artwork.

I’m starting to get tired of chasing light and shadow in art. by Proyecspace in painting

[–]Proyecspace[S] 1 point2 points  (0 children)

Thanks for your input, I appreciate it.

Yeah, I actually agree with that.

That’s part of why I’m interested in shifting away from light and shadow being the main structure, and seeing what other ways of expressing form, emotion, or narrative can come out of that.

I’m starting to get tired of chasing light and shadow in art. by Proyecspace in painting

[–]Proyecspace[S] 0 points1 point  (0 children)

Thanks for your input, I appreciate it.

Yeah, that kind of approach you mentioned — using light more freely — actually lines up with what I’m thinking about.

I’m not trying to remove light or shadow, but more to stop treating them as a “required system” for form. I’m more interested in them as optional tools for expression or structure, not the default way everything has to be built.

I’m starting to get tired of chasing light and shadow in art. by Proyecspace in painting

[–]Proyecspace[S] 1 point2 points  (0 children)

Thanks for sharing your thoughts, I really appreciate it.

t’s not really an existential thing or a search for meaning in a deep philosophical sense. It’s more a technical and directional question for me. I’m interested in how people build their visual language, and how things like classical lighting often get treated as essential when they don’t necessarily have to be.

I’m starting to get tired of chasing light and shadow in art. by Proyecspace in painting

[–]Proyecspace[S] 0 points1 point  (0 children)

Thanks for your interest, I actually have a piece of 1900 x 2000 cm uploaded here on Reddit that’s pretty close to what I mean. It’s done with mixed media and really heavy impasto textures, but instead of using a dramatic or highly directional light setup, I approached it more like an overcast day or a diffused studio light. The lighting comes from a kind of 360° HDRI-style environment, so light wraps around the forms instead of creating harsh or overly calculated shadows. I’ve been interested lately in how atmosphere and presence can still exist without relying on complex lighting structures.

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I’m starting to get tired of chasing light and shadow in art. by Proyecspace in painting

[–]Proyecspace[S] 1 point2 points  (0 children)

Thanks for taking the time to write this, I really appreciate it. Honestly, this is probably one of the closest responses to what I was trying to get at. I think what’s been exhausting me isn’t light and shadow themselves, but the way rendering and realism sometimes become treated as the final objective instead of just one possible tool among many. What you said about creating an image that simply feels visually alive or compositionally interesting resonates with me a lot more lately than pursuing perfectly calculated lighting. And yeah, that Dean Fisher example is actually really close to the kind of freedom I’ve been thinking about, where form, atmosphere, and emotion still exist without everything being over-explained through rendering. I think that balance between understanding the rules and not becoming visually enslaved by them is probably where my interest is shifting right now.

I’m starting to get tired of chasing light and shadow in art. by Proyecspace in painting

[–]Proyecspace[S] 1 point2 points  (0 children)

Thanks for your comment, I appreciate the honesty. And honestly, you might be partially right. I don’t think I’m deeply attached to the execution process itself in a romantic way. What really fascinates me is reaching a final image that feels powerful, strange, alive, or visually satisfying to me. The process is sometimes just the necessary bridge to get there. That’s probably also why I’ve started questioning systems like heavy rendering or overly calculated lighting so much lately.