Monday, July 17, 2017
Finally, I had a five-hour stint of work time Sunday and got the 2nd Landscape well on its way. This image is based on the huge philodendrons that grow in the garden behind our place in south Florida. I took a number of photos from my porch/studio, enlarged them, squared each off, and enlarged one on to the three by four foot canvas. I may do others from this group or I may move on to other photos that I shot of nature. These paintings are based on 5 layers of transparent acrylic that build to create hundreds of not thousands of colors, much like a computer printer does by layering cyan, magenta, yellow and black inks. However, I work in washes of yellow, green blue, purple, and red pigment instead of tiny dots. I paint into water sometimes or I quickly lay water next to wet paint. Sometimes I use a hair drier to make the paint dry in splotches and/or run. Each layer of paint must dry thoroughly before the next is put on the canvas in order to prevent new paint from picking up the old.
I don’t know why I so often choose techniques that are slow going, or why I can’t stay with one technique. I have good company however, just look at the varied body of work Picasso left behind, though I am a minor entity next to the great master. You see, this group of landscape paintings is but one of three different bodies of work I have been working on during the past five years; 1) mixed media distressed paintings titled the LGBTQ Pictionary, 2) The huge abstracted acrylic paintings of iconographic celebrities, and 3) this series of acrylic landscapes.
Monday, April 24, 2017
Finally, all the layers are piled up on top of one another except the central square. I photographed stage 2 and 3 and made a central square from both using more images and text.
To finish the work I will tear those 2 photos in different directions, one across and the other up and down, and then laminate the torn pieces into the mixed media distressed painting. I will varnish and add a bit of actual glitter at the very last moment, date and sign the work, and “Trans/ trany” will be complete. I will add a post of the finished "Trans/Trany" painting.
Friday, April 14, 2017
The photo is out of focus, so I will have to reshoot it. To most it wouldn't matter since the image is not of the finished artwork. Never the less, as an obsessive compulsive artist, reshooting is an absolute necessity in order to have a decent record of the creative process.
I am also in a quandary. I like the painting at this stage. The distressed paint, dechirage (torn paper) digital photos of the painting with historical additions are working well together. However, I’m not sure whether to cover all this with another layer of wax and paint, distress, and varnish again. It would be nice to be able to do the center square that will contain definitions of trans woman, trans man, trany and pronounce the artwork finished. I can't decidde, so I suppose I’ll just have to sleep on it.
Monday, April 10, 2017
It won’t look at all like this after the next six layers because these layers will be partially hidden beneath six more layers. However, I’m now about a third finished with the painting.
I like doing the mixed media distressed paintings because the technique makes history appear both hidden and seen or at least intuited. It suggests a motion, in the case of the LGBTQ Pictionary, I’m suggesting that the motion to this point in time has been positive, though within that there have been contrary moments (See the graph below).
With the advent of the White Supremacist Trump era, this may no longer be true, though I hope people of good conscience are able to fight the trend to denigrate all minority groups other than white heterosexual male.
As such, this painting, and all of the LGBTQ Pictionary can be viewed as my act of affirmation and hope, tempered with a bit of fear and determination that a reversal must not be!
Sunday, April 2, 2017
Finally, It's so good to be back on my Art Blog. I’ve been working on a new painting for the LGBTQ Pictionary series, “Trans (12" x 12").” I've found over the past 5 years that these paintings work best in small sizes. Trans has but the first four layers so far, but I’ve done all my research and have all the type and historical stuff to bury in the layers of paint. Next I will begin printing images and text, hand writing out text, then laminating them into the mixed media distressed painting including some gold leaf and glitter - got to have a hint of glitter and glitz - in several layers. There’s not much to the painting just now, but I’ve thought that I could also do much larger pieces, say a triptych of three or four foot square canvases similar to this, with variations in color, or a third & forth color working through them from one piece to another. There would be no images, perhaps just a bit of hidden text. They’d make a stunning over-sized-sofa (Hah-hah!) painting.
Wednesday, December 21, 2016
The Rectangular front panel of the completed Christmas Card
The Square Mixed Media Distressed Painting
Well over a month ago I wrote abut the completed Christmas Card Painting. At that time I also promised that I would publish a comparison of the painting with the card when it was finished. By now those who were to receive a card in the real world have, so I’m playing catch-up on the art blog.
Comparing the visuals above one can see how different they are in composition. First, the changes were necessary as I went from a square format to a rectangular one. I had planned on the card being rectangular because the standard size for postal use is 5” x 7.” That is why the central image of the Madonna and Child (Virgin of the Veil (1500) Borgognone) is a rectangular format that shrinks in size as each set of layers in the painting is completed. Second, the accidental process of layers of images and paint added and removed over time creates its own compositional argument, and I wasn’t completely satisfied with the composition of the finished painting. I spent a great deal of time playing with placement and size of various elements using Adobe Photoshop. So, the final card is very different in composition from the square format of the original for both these reasons.
Saturday, December 3, 2016
I walked into the studio yesterday with the idea that I would alternate work between the experimental landscape and Christmas cards. First, I cut and pasted inserts into 8 cards. Then I filled my water tub, prepared the palette and stepped up to the canvas thinking, “h-m-m-m-m-m, I could add a wash of green on these spots in the lower left corner, and I might put a dab of opaque white paint here in the middle of the canvas, and I could extend this curved line across the central canvas to the upper left.” But then, I thought, “is all that necessary?” I answered myself with a great big “NO!” Instead, I thought, “It’s finished!”