RED. . .Almost One Year.

Connections - Red 5    oil, wax on panel    50x50cm 

Almost a year has gone by since I decided to limit my palette with red as dominant color. (blog post "Red- - -Who's afraid ...") I started out very hesitant. Inspired by the force and brilliance of the color itself, I was still intimidated. By combining it with  black I intended to soften any harshness but that was silly as you can well imagine. That was the beginning.

Now that I am on my fifth painting with red as protagonist I'm feeling happily at ease, in fact, liking the choice. I've learned so much.  I can thank, (never enough), Janice Mason Steeves for her counseling: to play, to accept challenges, to simplify, to be aware of contrast, . . . . .

I don't have a general plan for the sequence of my paintings. I used to do drawings as preparation but now, one after the other, I rely on intuition.  One painting is naturally the stepping stone for the next.  Something just clicks in my mind inspiring the sequence. I've noticed in the recent paintings the appearence of new colors. From the begining using mostly red and black, now lights, yellows, oranges and greys, are  presenting themselves. A sign that red has become a part of me and not a fearsome, intrusive element?

My theme is always the human body, the spinal column in particular.  My next project, constantly on my mind, is to be able to put into words why this particular part of the body is so important for me.

A PAINTING DAY. . . .

"Connections  Red"        50cmx50cm      oil,wax on  wood panel

I've been away from the studio for weeks now.  Working for the annual Bazaar sponsored by the American International League of Florence which aids local charities in need.  It happens every year at this time and I enjoy it I  admit.  We fashioned some fun hat/headbands with a lot of fru-fru ribbons, tulle and sequins. Hope they sell. I also made lavender sachets using old embroidered linens and tulle (check my facebook page). Soo, because of this time away from painting and household duties, today was programed to be ironing day.  . . . but, I never made it to my ironing board.  Started out early making the changes, additions to the last, almost finished panel I have been contemplating in the studio and there it is. A time to absorb and (as Janice Mason Steeves, my mentor, says) a pause to listen to your painting is  important  for moving on. I know that this pause has given me a stronger urge to get back to the studio, to continue.  I have several other paintings waiting to be finished. Nothing will stop me this time. 

Playing . . .the Game of Painting

Connections    50x70cm        oil on paper

I have finished the last  painting that I will be presenting to my mentor, Janice Mason Steeves, in a few days.  This time, I can really say that I experienced the "fun" in painting  that Janice has always said is a must.  That loosening up that eliminates any tension, any self created fears of making "mistakes". janicemasonsteeves.art blog.

First, I layed in my lights and darks using an idea from the value studies done previously for Janice. I decided to use a limited palette of blues, yellows, greens and black. My brushes were large as were my spatulas.  I didn't want to fall into the temptation of creating small details and minute forms so LARGE painting instruments were best.

As usual, my forms are  internal anatomical shapes  but this time, once they were in position  in the overall  design, I began to have fun distroying them. At first I used a large, homemade bamboo pen that I made years ago and "drew" into the wet paint breaking up the solidity of the forms. Then, using only my spatula, I built up the negative space around my forms with thick layers of paint concentrating on lights and darks, forms and movement. Again, I wanted to lighten the forms by breaking into them so I chose to use a brayer which picked up  and deposited color  creating movement and light within the forms.  I scraped and rubbed away the color. Nothing was "sacred".  Nothing untouchable.

What I wanted to achieve was a less formulated composition, to express the strength that is an essential part of these forms without making the whole too heavy.

I was in a rush to begin working for my fourth and final session with Janice but I wanted to work on a panel, not canvas.  I  had to wait too long for the delivery of the ordered  panels so decided to work on paper.  I sized the paper with gesso, pinned it to my painting panel and began.  Maybe the use of  paper gave me the strength to mess around, to "distroy" and to go ahead again.









These are the instruments I used. Spatulas, a brayer, my bamboo pen and . . . a Ferrari red spatula sent to me by Janice and "fun" to use.








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Progressions in my Revolution

first rough draft

I have finally finished my second series of paintings done for the mentoring program I am following..

The first  "rough draft" is on the left, the finished painting is below.

I have deleted details and forms from the first draft that I felt were confusing the reading of the painting.

I find myself searching for simplicity, trying to express my ideas by using a clearer and stronger imagery.

This, all thanks to the guidance of my mentor, Janice Mason Steeves , and by applying her suggestions to make use of   design and limits in painting. 
janicemasonsteevesartwork.blogspot.com

finished painting . oil on canvas - 50 x 70cm

second draft

The second rough draft is on the left.

The finished painting is below.

My aim was to make my statement as clear as possible, to create strong forms with color and use  a variety but a balanced series of values.

 finished painting - oil on canvas - 50 x 70 cm

At first glance you probably say that the first drafts are nothing like the finished paintings. . . there is no connection.  But if you look closely, all I have done is to pare down my ideas, limit my content, and strenthen my statement. I am still occupied by the human body and it's structural forms whether they be external or internal. My anatomical forms are often coupled to architecture because the body dwells within architectural spaces and is a balanced, proportional structure in itself.

The first painting is related in color to its first draft but a few details have been eliminated, too many small forms  detracted from the conception of the whole. In my revolution I seem to be searching for larger spaces, unifying my statement by eliminating what is superfluous. Most often, when we explain an idea using too many examples, including too many references, we create confusion, not clarity. Here, the anatomical forms dominate in size and in color and suggest unity of construction through the strength of design.

The second painting was already limited by me in color and forms presented. It is clearly the spine, the central column supporting the human body but also the structural column that is the basis of architecture and construction. By reinforcing  my color and creating larger forms there is  a stronger  image whether it be anatomical or architectural. I prefer now to suggest  connections between anatomy and architecture, no longer feeling  it  necessary to include minor details.

....PASSED WITH FLYING COLORS.. . .

My second session with Janice Mason Steeve's mentoring program was even better than the first. I was  relaxed though eager to know her reaction to the images of my paintings. Judgement is always  terrifing.  But I made it! Got through the test with FLYING COLORS ( literally). WE talked about lots of things. . .  the time passed too quickly.  And now I have a new assignment.  Work in the same direction, using internal anatomical shapes along side architectural drawing, lines, etc. only BIGGER. Can't wait to start......

But first I would like to show you what's been going on with me doing those first 5 canvases.

Connections 1: oil on canvas -  30x30 cm - 12x12 inches  (The pic doesn't do justice to the varied yellows that are there!)

Although I worked on all five paintings at one time, there is always one that starts things  off and this is it. The canvases are 30x30 cm, small enough but when there are 5 to finish in a short time they can feel very LARGE. I used a limited palette, yellow ocher, cadmium yellow, alizarin crimson, cad. red, mineral violet, ultramarine  blue, burnt umber, white. Too many colors are confusioning.

This first piece depicts internal anatomical shapes referring to the head. The straight white lines suggest the structural parts, the architectural drawing, the bones.  I had intended to include written parts, formulas, equations, etc., but decided to eliminate these following Janice's thoughts about limitation, simplification.

Now I am working  on a title. Something that will embrace all 5 pieces, the series. 
I will post others tomorrow.