Some random moments from The Big Painting, passages seen up close. Nearly all of these things will be covered up in more paint. But then I’ll take close ups of those too …
It’s fun for me looking at the surface. I hope it’s fun for the spectator too. Many things are abstract seen up close.
There’s lots of color contrast in this painting, both in the painting as a whole and in the smaller sections.
The flowers will get more stuff done to them, but these flowers will probably never be anything other than painted flowers with details of paint but not details of botany.
I am contemplating a plate. It may go at the bottom. Not sure. Right now it exists only as a broken arc. Blue jay’s tail is visible on the left.
Some passages of the painting have the sort of scattering that I like and want. In other sections, the proper texture eludes me. Still, when you find that you’ve got it in one place at least you know afterwards where it is that you want to go.
I have been using iridescent paints. Nonetheless, much of the brightness has to come from the apt use of white. I strive to learn the apt use of white.
Some years ago I began the painting in which this detail appears. Now I’m reworking it. But this detail is my favorite element, and I’m not touching it. Some of the bare canvas appears between lines. There’s clear acrylic so it’s not actually bare canvas, but it’s got the color and appearance of the untouched canvas.
Here’s an even closer detail of the drawing. There’s a sort of riot of lines.
I feel an unabashed love for the material appearance of oil pastels (Caran d’Ache Neopastels to be precise). I love to describe somewhat “loopy” forms with them. I love mixing colors by abrasion. I love the way that you can drag one color across another and create as it were almost veils of color.
So even when the situation is stalled (as I make drawings for a painting that I’m unsure how to complete), I can nonetheless love the act of drawing because the materials themselves are so beautiful.
I have rehearsed these forms many times and they still hold my interest. Indeed, it’s stronger than that. They hold me captive.
Nothing like a square for getting you centered ….
This abstract image depicts a tree and its reflection in water. It’s the first swipe at the motif and measures a compact 12 by 12 inches.
One more detail to round out the day, though the tease has past. Here’s another detail of the crepe myrtles scene that’s in the works because mooshing the painting around is why we paint.
As part of my continuing campaign to imagine myself in warmer climes, I painted a small tropical picture. Lots of paint, lots of color and lots of imagining myself feeling much warmer. Where this is, the air is balmy!
I have loved Richard Diebenkorn’s work since whenever it was (a long time ago) that I first saw it. Without knowing anything about him, just seeing one of his pictures on the cover of a magazine, I fell in love. His ideas have affected me since.
Here in the drawing from one of his little notebooks (above left) and the detail of my painting Distant Oak (below), I think the affinity shows. I never met Mr. Diebenkorn (who was the same age as my mother). But I still think of him as being one of my teachers.