Unearthing the brightness, the hidden electric blues and acid yellows that have been holding their breath and waiting under the red cover of rage and pain and exhaustion, the blackness of grief. Looking forward to uncovering and letting the brightness out.
Well, it's been almost 48 hours since my Craftsy class, The Acrylic Painter's Toolbox, went live, and already it is gaining some momentum.
I find it exciting and a little nerve-wracking (mostly just a bit of stage fright). What I do like about it is that although the motifs I'm using as the anchors for the classes are fairly traditional, there are elements in each of the segments that are less so. It's fun to move slightly sideways of the norm and introduce people (particularly beginning painters) to the more playful side of acrylics. That's where I live, and it's a fun place
It's been a while, sorry! Life has been a sweet but busy as heck fruit the past many months, which has seriously impeded my idle time. As I write this, I'm aware that I should be prepping dinner, answering the backlog of emails and probably some other things that I've quite forgotten as they were not written down...
Yes, there is always the BIG to-do list that looms large and loud, but the good news is that the business and dizzying travel schedule of the past six months has resulted in some terribly exciting developments.
1. I have a new studio. This studio has a sink (it's a whole new world I tell you)
2. Four countries in as many months, and new (and cool) projects have resulted in INSPIRATION. This should actually take up two or three points, as it is BIG and IMPORTANT, as my creative well had all but evaporated from lack of, well, everything.
3. I will soon be partnering with another artist to begin a series of very fun workshops.
4. Cool cool things... (but I can't tell you what they are yet)
5. I'm thinking of re-vamping my website because this one is a bit dark and frankly I'm bored with it. (This should actually be a sub-point, as I've no real idea as to when of if I'll actually get around to doing this)
So there you have it...new studio + new inspiration = new artwork.
It's slow and steady at the moment, no great revelations to share. Currently I have about four paintings that have all hit the "ugly" stage, so once I tackle this tricky bit, I may have something fresh to show. I hope you'll stay tuned.
You know that stage when you stop and say "ooh, I like that bit!" ?
It is a crossroads. Stop, or move further into it and risk losing whatever it was that held you.
This is a detail from a new painting that I just keep looking at, then leaving alone. Problem is, the detail holds me, but the full work is not resolved.
How to proceed? If this were a photograph, crop and save. Not so easy with canvas and paint. Think I'll just keep leaving it alone, put it away for a week or so, then revisit. Or should I try...
What happens when I stretch a skin before it's fully cured...
It looks like folds of silk, so I'm drawn to framing it in it's draped state. Bringing more sculptural dimension to the piece, embracing the materials. Making accident part of the art.
I have become quite fed up with all the grey, to be honest. Time for colour, riotous, juicy, shameless colour. Bring on the spring and it's dewy hues, I'm ready.
A quiet divide.
Always compelled to incorporate some aspects of the grid. The creative flow struggling with logic and symmetry. A pinch of text, symbols populating borders. The big barren cold north, virtually empty. Looks a bit like Canada.
Working with Tri-Art Dry Media Ground on a Gloss acrylic gel surface. The addition of charcoal, graphite works better on this surface than on just a plain matte gel or polymer. The Dry media ground imparts a velvety toothy and oddly absorbent surface. I love the way it accepts colour, and how subtle the blending becomes. It could be called dry & wet media ground, or just velvet grit. Me likey.
New year, new energy, same palette. There are some things that I cannot get away from. One of them is Payne's Grey.
WHAT A GREAT COLOUR.
There are many versions of this colour out there, in all formats of paint. The one I use, and love, is Tri-Art's Finest Quality Liquid acrylic version. It is a combination of PBk 7 (carbon black), PB 15:3 (Phthalo Blue Green Shade) and PV 23 (Dioxazine Violet). My tendency is to use it in washes and glazes, so that the subtlety of its undertone is showcased. Such a beautiful neutral.
In this piece (acrylic skin), it has been washed over a base of Graphite Grey, Liquid Mirror and Interference Turquoise. There is also some dry brushing of Iridescent Bronze, Interference Blue and Zinc white. The base of the painting is gloss gel medium, with blocked in areas of Dry Media Ground.
For more information on Payne's Grey: http://painting.about.com/od/artglossaryp/g/defPaynesGrey.htm
I'm waiting, with growing impatience for the snow to arrive. It's not really about a "white Christmas" for me, though that is always lovely, but more about the feeling of the snow, the look of it. I love the thick dampening effect it has on the ambient city soundscape. The way it sparkles under the street lamps on my nightly walks, the softness of the sky, the lightness of the flakes. I am infinitely more inspired by snow and ice than by the greens of warmer seasons. I suppose winter appeals to me because of it's limited palette, which I have taken into my studio and it gives life to my work. Bring on the twinkle.
DETAIL: Spectral Colour Hologram Pearl and gloss gel medium on mylar.