Thursday, February 18, 2016

What I Am Doing part 2

Building on what I wrote in the previous post, here is where I left off on this painting yesterday. I needed to introduce some yellow so that I would have warmth to work from and to give a different life to the other colours. I work very loosely, as you can see, and when I feel tight, I close my eyes take a brush full of paint and make a mark to work from. This satisfies my wish to never be precious, to break away from expectations including my own. I like breaking expectations down as I work. 

Today I started to try to balance the top and bottom of the painting, working to liven up the bottom and bring the tone down in the top. It was crying out for graphic elements to give it some meat and to sober it up after all that yellow. I tried for some grey and some black. It feels lively to me now but unfinished still.

All these things I say here are what occur to me after the fact of painting, they are conscious decisions but unconscious needs. For instance, one black mark started to drip, and I said to myself, "no, no drips" "no" why did I say that? Perhaps I am responding to a critique of drips I heard in art school or while reading someone like Matthew Collings on Facebook :). I think it's useful to listen to others sometimes, but be careful who you pay attention to. Or, perhaps there is so much organic in here already, I feel the need to be careful about flourishes. A drip can be a flourish?? Or, I can't say what I need to say with drips.

I'll work on it again tomorrow and let you know how it goes.

Again, forgive the glare, wet paint.


  1. Thanks for explaining the process. Sometimes these contemporary pieces are only to be admired, other times an explanation of process makes it even more interesting.

  2. I'm glad you are enjoying my show and tell. I've been out of the studio for a while and doing this on the blog is helping me get back in touch with painting. And, it is teaching me things too, about what goes on in my particular process while making these particular paintings. Of course it doesn't explain anybody else's process.


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