snapshot of work in progress
You think you’ve seen this before, but you haven’t. You’ve seen an earlier study of the same subject – what I’m thinking of as Time, Vodka, Mandarins. Again, acrylic and pastel on paper. If you saw it in real life you’d see it was stapled to a piece of foamboard and bordered with white tape. There’s a few more changes I want to make to this; we’ll see if I actually get to them. I’m already working on a third study.
I’ve been pondering why I’m so averse to portraying form, as in three-dimensional perspective. I’m quite capable of doing it; in fact, I have to work to not do it. Instead, I like a flattened surface that, if it has depth, it is only depth created with texture or such design elements as color or temperature or scale. Abstraction and the deconstruction of perspective are other ways to avoid it, as in how I handled the homestead cabins in the Additional Dimensions series.
Every time a piece veers towards modeling I quickly get irritated – literally hot under the collar – and bored. Resentful, even. The feeling that happens is that of a shift to the other part of my brain – the part that analyzes and makes calculations. There’s a time and a place for that, of course, but it feels like work. And I’m not painting to feel like I have a job. I’m painting to have an adventure.
On another note: I hung some paintings today at the one-and-only Glass Outhouse Art Gallery in Wonder Valley as part of “Buh-Bye to 2021“, a group show curated by Suzanne Ross. The show runs Dec 1-26 (including Christmas Day), with opening reception this Saturday 1-5 pm. For the display I elected to bring several of my Bell Poems. I thought they might be a quiet spot in the blizzard of works on view, not to mention the general chaotic conditions of this year soon ending.
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