One of the techniques I learned from Connie Hozvicka in the BIG class was Shape. The idea is to just show up in front of your big canvas and, using any color, just start painting a shape.
Then add another color. By this time in the process I had started feeling pretty free. I thought, "Why not a bit of scribble?" Before I knew it, I had this:
Did we have fun, or what? This was a wonderful excercise to loosen up. It made me ready to try a canvas next. You should try it; you'll like it.
I'm still painting over here. Last week was so chaotic. But this week is already better. Only eleven more days until time to set up for the Gasparilla Art Show.
This morning I took out a little time to spend some great coupons at Michael's and Barnes & Noble Booksellers because today is my birthday. My birthday gift to me is a copy of Pam Carriker's new book, Art at the Speed of Life. I have only had time to flip through it, but it looks like a good one. I'm anxious to try out some of the exercises and tips she provides in it.
Okay, the paint is drying out. Back to the studio.
I have been working on this collage painting today. It started with hand painted and stamped papers. The background behind the bird seems to require some text, but I'm not sure what to write yet.
I wanted the girl's hair to resemble a bird nest. My studio assistant, Tristan, is not so sure about it. So I'm going to sleep on the idea. Time to step back from it while. Tomorrow is another chance to work with a fresh eye.
I have been experimenting with using painted papers to create abstract paintings. As I stepped back to look at this one from a different perspective, it surprised me how much it looks like clock works, even though there is nothing from a clock in the composition.
It's always interesting what one discovers when looking at things from a different perspective, isn't it?
Today I got out this painting to add a bit to it. I wanted to integrate the botanical image more.
I had laid the collage pieces out before going on my trip, and somehow, they fit better then. When I went back to glue them today, I couldn't get them quite right. That's why I don't like letting an idea cool off before finishing it. Besides, it seems I can never quite capture the original spark of the piece. However, finishing is better than not finishing, right?
I'm still not sure about this one. It might have to go through a number three revision.
I just finished this new angel. This piece was fun to do. I used my own hand stamped and painted papers for the background and the hair on this piece. The face was painted on watercolor paper then glued to the canvas with gel medium.
Making the hair from collaged pieces of paper was a challenge, but I like the effect. It forced me to not get it perfect, although I did try. I have such a problem with loosening up. I knew an art teacher once who would tape his students paint brushes to a long ruler so they would be forced to loosen up. Maybe I need to try that next. I will let you know how it works out.
Do you have any techniques for loosening up in your art work?
I was browsing through a garden catalog that came in the mail last week and saw a wonderful picture of a cluster of allium flowers. I loved the pattern of the tall bare stems and the round flower heads. It inspired me to try to capture it in a painting.
I used painted papers as a base for the flower heads and stems.
I love the way collage adds a deeper layer for the viewer to discover.
This canvas was not the gallery wrap style, so I used some vintage text to cover the staples on all four sides. At first I planned to paint over them, but I enjoyed the look of the text so much I decided to leave it. The extra bit of effort to cut and apply the text paper to the sides was well worth it.
Today I was determined to finish a painting started last Friday. I am trying to become more disciplined about finishing a piece instead of letting it lie around the studio until it never gets done. It was really a problem because I was just not happy with the way this one was going. It looked blah; no fun. I was about ready to ditch the whole thing. I thought, though, that before covering it with gesso I might as well have some fun with it. So I got out the stamps.
With renewed interest, I kept painting.
I found this technique really helped me loosen up with the paint brush. I think I will do this again.
My mother always grew Marigolds. Each year they would re-seed to produce an even more glorious show the following year. When I was home last Fall I took some photos of one patch that was especially intriguing. A prickly cactus growing behind the marigolds made a very striking display. I decided to use one photo as source material for painting this week.
The first trial painting was done with an initial wash of acrylic inks. It was fun to work with this new (to me) medium, although the color was more intense and vibrant than what I have used in the past. But after living with it in the Family Room for 24 hrs, I decided it held up well in a variety of light conditions. By "held up well", I mean that the composition did not get lost when viewed from a distance.
Then I wondered what the subject would look like in a more Impressionistic style.
My first attempt at this style did not "hold up well" in the Family Room test. Those cactus were just too pale to show up. So I reworked it a bit.
I like this much better, although I see some things I would still change. But that is it for now.
Working with Mixed Media has made me tend to get too close to my work. It really makes a difference if you step back once in awhile to view it from a distance. Maybe I just need to tape my brushes to a yard stick. I took a painting class once from an instructor who would actually do that to students who tended to "choke up" on their brushes. Hm...wonder what it would look like if I actually did that...
Not today...I'm done.
I have been experimenting with some ideas for a painting. This is a study of Mama's house in autumn. Even though the drawing needs improvement, I am pleased with this piece. It was comforting to paint it. Art heals.
I have been reading the book, Vincent Van Gogh, a Self-Portrait in Art and Letters by Anna Suh. Early in his artistic life he writes in one of his letters to his brother, Theo,
"Mauve tells me that I will spoil at least some ten drawings before I learn how to wield a brush well. But beyond that point is a better future, so I carry on working with as much sang-froid as I can gather together and will not let myself be put off, even by my mistakes. It goes without saying that one can't master the technique in a day."
It is so encouraging to know that even a great master had frustrations and difficulty in his early attempts.
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