I haven’t posted in a while, but I have been painting. I have about 12 new paintings to share; here is the first of my new series of abstracts that I have been working on since July.
I began this one inspired by passion flowers (we have a huge vine of small passion flowers in our yard). I started this in acrylic, as my previous painting, “Food Forest,” was done in acrylic and I was so happy (eventually) with both the process and the end result.
With this one, however, I found working in acrylic as frustrating as is usually the case for me. So I repainted the whole thing in oil and then ended up painting out much of what had been part of the original composition. I finally abandoned the idea of a passionflower, and let the painting tell me what it wanted to be. And this is the result.
Kind of goofy, kind of beautiful, and I find myself loving the parts but wondering about the whole. This painting got juicier and juicier as I simplified, simplified, simplified.
Here is the first painting I have completed this year. It started as something even more abstract back in November, but I couldn’t quite resolve it into a painting that worked back then, so I repainted it, and now it has become an abstract floral work. I really love how it came out.
Here is how it looked after a few days of work back in November and what it is now:
As you can see, there are a few parts that remained more or less intact and a lot of additions and modulations. That groovy shape in the top center just didn’t work here, but three calla lily-type flowers have taken its place rather nicely.
I didn’t want to lose that wonderful diamond-shaped bit of fuchsia towards the upper right, and I think it came out really well being made into a “flower.” She’s kind of queenly, I think, and seems to be engaged in a dialogue with the fuchsia flower in the center, or maybe they form a trio of fuchsia flowers with the one below both of them.
The other part I was quite attached to was the little blue “mouth “engaged in a scream in the green flower on the upper left (when the painting was turned 90 degrees):
Some brushstrokes just can’t be duplicated (well not mine; not yet, at any rate), so this little guy remains even if it’s no longer so clear that it was a mouth screaming.
“Ovation in Pinks” is available from my new shop site, here: “Ovation in Pinks.”
After copying a Picasso last week, I started seeing so many things differently! Palette, shapes, composition…my copy of his painting in among my own paintings made my work pale in comparison. 🙁
OK, well, no surprise there.
I tried to return to what I had been doing before the Picasso copy and started using colors from his palette to attack this work that was already in progress. Picasso kept interfering as I struggled with thoughts of the strength of his work.
A few days and many changes later, I finally got back into the rhythm of my own vision and ended up here. FWIW.
This is kind of a goofy little painting that I was really just noodling around on. It went through several changes over about a week of occasional noodling, and this is where it ended up. I gave it that title because it reminds me of the little donkeys I saw in Morocco being led across the desert or in the medinas, stacked practically to the sky with all sorts of household goods, water, cans, people, rugs, etc. Mighty little fellows!
The greatest work of an artist is the history of a painting.
The title of this painting could embody a state of grace that many people seek throughout their lives. It could symbolize the wishes that most artists aspire to obtain through their creations. Or it could represent my recent series of abstract paintings. In this case, it represents another painting in the series through which I am beginning to achieve a long sought after enchantment with my process and pleasure in the final result.
Every painting, and perhaps especially abstract paintings, start out as a journey with the destination unknown. The thrill of exploration is a great part of the goal. What can I make my colors and brushstrokes do? How do I push the paint around in interesting ways? How can I make an intriguing composition out of nothing but colored oil paint and a few shapes?
These first few works in the series are small and slow, and I’m still finding my footing, but I’m really looking forward to more and larger and more confident works. I’m thrilled to have reached this part of my journey, and excited about the rest of the trip. I hope it is a long one!
This is one of my favorite paintings from my latest series of abstracts; this one is from last weekend. These new works are very process-oriented, though of course, I do aim for a final happy outcome. This series is primarily about paint: pushing it over, around, through, beside, until I’m satisfied with the composition, shapes, colors, brushstrokes, and amount of paint. I do love the soft palette I achieved in this painting!
Of all the paintings I’ve done, this may be my favorite painting so far. I love the colors, the nice thick paint, and the general happiness of this painting. It evolved from the work I did on the last five abstract paintings. I’m really enjoying pushing thicker and slicker paint into, over, around, and through previous brushstrokes, and the wonderful color mixing that happens on the canvas. Working this way is going to be fun!
I have a few paintings from a couple years ago that never really worked, so I painted over one of them a couple months ago, but never got it to a finishing point. Last week, I reworked the painting one more time. It’s a bit rough and looks slightly different and much better from a distance, so I may either re-work it (again) or paint what I like from it in a larger more intentional work. However, some of my friends like it just like it is, so I have decided to live with it for a bit first.
I love how the visual ideas one entertains in the course of being an artist may lay dormant for a time, and then return as a nice surprise. 🙂
Last Wednesday night, with a head full of visual ideas, I entered the studio and started trying to get those ideas out on canvas. This is the first of 3 paintings I did in less than 24 hours. While this is not exactly what I envisioned I would be creating, so far, I’m very happy with the direction.
Painting abstractly, or non-objectively, is a much more intuitive process for me than the planned paintings from life. I start with some loose ideas for shapes, colors, and composition, begin adding some patches of paint, and then follow the brushes to see where they lead. In this case, they led back to some similar imagery I was exploring 2 years ago (see “Alien Kitchen” and “Twenty-Sixth Day Plus 100″ from the Hot Hot Summer series of Works on Paper).
I don’t think these paintings would have taken shape the way they did were it not also for my 2-month excursion back into representational paintings. I learned a lot from seriously concentrating on making brushstrokes (and I still have a lot left to learn), but I was champing at the bit to get back to abstraction. In just over 4 days, I’ve now created seven new small abstract paintings and started a couple of others. I’ll be posting one a day unless something (like work, illness or social life) causes me to take a break.
I intend to continue painting my new abstracts alla prima, or “all at once,” as I did with most of my recent still life paintings. What this means is the painting is started and finished in one painting session, while the paint is still wet. It lends a freshness to the work, in that my visual ideas of that day are transmitted to the painting in that session, but more importantly—at least when working in oil—the paints and paint strokes flow very well into, over, around, and through all the other paint strokes on the canvas. The other main option is to work in layers (“indirect painting”), where new paint is laid down over dry paint from a previous session, rather than becoming physically integrated with the earlier applications of paint. Plenty of artists work by painting in layers, and it’s an equally valid way of working, but alla prima is my preference.