Monthly Studio Update - October, 2004

Studio Update:

For some time now I have been working on the five paintings below:

 

Toucan Table and Glass Jar, oil on archival panel, work in progress, 12 x 16"

I don't have any "sure fire way" to finish a painting, at least one that feels "alive" to me. Here I sometimes I tap on the glass of the jar with the end of my painting brush to get a sense of where that particular spot on the glass surface is in spatial relationship to other spots and areas. I look at the painting upside down and in a mirror, a sure way to check if the form is good.

With Toucan I want it to have a high level of realism, the way it is set up would support that, and I like painting all the details in this piece.

 

 

Joseph, wip, acrylic on archival panel, 12 x 16"

The painting of Joseph is very close to completion. I am only working on it when the model is present. I would like to "clean up" his ear, give a little more shape to the background folds, double check the eyes and that should be it! I might sound a little clinical but when I am working on these paintings and when I work an area that adds to the work...I experience a very intense emotion of elation-it feels like the creation of a living thing.

 

 

 

Artemis, 2004, oil on linen, 24 x 48"

I thought I had finished Artemis some time ago, but when I varnished the painting, it became obvious, to me, that some areas were too dark. Varnishing intensifies the color and does make your darks significantly darker. So I have gone back to her and made some corrections, I still have a few more to do.

 

Venus, wip, oil on linen, 48 x 48".

Haven't been happy with the vibrations of color in Venus. A few days ago I made arrangements to visit a dear friend in Utah later this month; I will be spending most my time drawing pastel landscapes of the west, as studies for this work. I will post them here next month.

 

Little Goddess, wip, oil on linen, 22 x 27".

This painting as gone through more changes and difficulties but I love the theme of it and I will revisit it until I get the vibration of light right. Notice that the shadow on her leg and left breast are a little too dark. That happened because I lightened the ground and the water hence some other things become darker. And then when I go to lighten the leg and breast something somewhere will look off. I just keep tracking and changing till it clicks! Ah, integration has got to be one of the most difficult and rewarding things in life.

 

 

Easel, wip, pastel on black paper, 19 x 24"

I think my paintings are the most gratifying part of making art for me as I work all of my soul in them. With pastel drawings it feels more...being in the vibration of the universe, I get into a very intense flow, it's like my hand takes off on its own. I want to have a good look at this piece before I sign it.

 

 

There is still place in my class, here in my studio, on Oct. 9th and 10th. For information go here: www.NaissanceAtelier.org

 

 

Non-Studio Updates:

Last night I was thinking about my painting Little Goddess and what it meant for me and why I keep working it though none of it is coming easy. I wrote my thoughts down in the form of a poem.

 

Little Goddess

She bore the night of his fear,
And ferried him,
Effortlessly,
To the sights of Icarus.

She embraced the flight of his glow,
And held it,
Simply,
In the pulse of her body.

She seared the light of his gravity,
And eased him,
Gently,
To light in a ground of green and gold.

 

That's all for now.