next, make some charcoal marks. lay down a loose composition. good. Mark Andres taught me to paint this way. sometimes i do, but mostly i go straight to paint. today, since my subject is outside and down the stairs, i decide to get this quick sketch done to help guide the process.
get some quick brush marks on the canvas. start to build a color story. some contrast and a little linear work to keep the composition intact. move fast. don't think too much. listen to Coltrane. good. fun!
more color. big brushes. work quickly! go. go. go. go outside now and then and refresh the memory of what the subject looks like. sun is shining. it's not freezing out. fresh air. don't be afraid, David. you got this. stay brave.
Howard? is that you? sure, come on in. is that Arthur with you? you guys want a beer? have a seat! do what? OK, sure. like this? you sure? ok, you guys know what you're talking about. hmm? yeah, that's Coltrane. awesome isn't he?
oh my God, have i just painted a huge penis? good lord, it is! it's a huge penis! oh my God! it was just supposed to represent foliage. (heh ... that makes me laugh.)
smoosh the top down. there. less phallic now. screw you, Freud. (not you, Lucian). but now stop and look a while. there are a couple of good marks and interesting passages, but mostly i don't like this painting. the focus is going now too. can't think straight. help...me...Spock...
don't know where to go with this now. i have a couple of hours into it and a ton of paint and a big chunk of expensive Belgian linen. no. wait. stop! you can't think about the cost of materials or the success of your marks. you can't think of time as being wasted. f' it. move on.
smear the whole thing. this way after it dries i'll have a decent, smooth surface to paint over, and maybe some interesting under-painting. keep the basic composition in case you feel like addressing the same subject next time. walk away. get your head clear. get some lunch or something.
as i think about my time in the studio this morning i think to myself "you just went to school". that's all. every day doesn't bring a masterpiece. that's the death-nail for creativity - to expect greatness every time. i learned a few things today. i was brave. i didn't settle and i knew when the painting needed to be pushed and i knew when to quit. it was tough smearing this thing out. really tough. but i know it was the right thing to do.
as my brother said "no experience at the easel is a loss".
Posts
Hey, I am pretty intrigued by this painting. I would love to see it in it's flesh and blood. I feel like so much of painting is being brave (well, actually, being terrified).
ReplyDeleteI absolutely love seeing the process of how this piece took form. And the final result is stunning. Really. And the commentary from you along the way made me laugh!
ReplyDeleteAnd thank you for reminding me that every piece doesn't need to be a masterpiece. And that knowing when to push or quit business...that's making art, isn't it. Comes down to that, I've often thought...
what a hoot. the commentary was so much fun.
ReplyDeletei have invited coltrane and miles to the studio the last few days but they haven't talked to me yet. but i am listening anyway.
i wonder if you have changed the painting since this post. the last image was mysterious--interior....