As of late, I've been experimenting painting on heavy weight paper. I like the unpretentious feel it has, and the fact that I can store them more readily and easily than stretched canvases. I hope to do more on this surface and see where it takes me.
As of late I have been experimenting with painting on heavyweight paper. It has a different feel to it, and I am beginning to like it. I also like panels and canvas boards, when I'm not using stretched canvas. The thing that I do like about paper, is the storage space that it offers me to file them away. Eventually, stretched canvas can run you out of the studio, if you try storing too much of it.
With the flatter surfaced panels and papers, its not a problem storing large numbers of works in a limited amount of space.
For now, though, I move around from surface to surface as I need to. Seems like I just enjoy the different feels each one has.
About this painting: From a snapshot I took up in the Midcoast area of Maine, along Boothbay Harbor. I feel strongly that this painting is the direction I want to go, as I feel it has broken through some barriers that have been obstacles for me, one of them being tied to the conformity of representational brushwork techniques. This painting, for at least this one attempt, has crossed that line. I feel its one of my strongest paintings I have completed in this new year.
Impressionist Landscape Painting of quaint house by a salt marsh
acrylic on 140 lb paper
11 x 15
I found this composition of a small quaint home by a inter coastal waterway quite interesting. The small red boat beckons to take you out in the waters, maybe to a place where the hermit crabs line the banks of this salt marsh area.
There are certain time in an artists life where there are dead spots and energized times in the process of creation. As a painter, I find that if not given the time to be in non productive period, the process of working at the easel can sometimes get repetitive and produce tired and sometimes stale work. Artists I think, need that time off, to recharge and sponge up the life and energy that is around them. When that is completed, productivity happens and sometimes it happens rather suddenly and with a whirlwind of activity at the easel. Kind of like, when it rains, it pours, but seldom does it drizzle. Drizzle does not produce any lasting work worthy of staying in the game.
I think I am now entering a phase of high productivity, as I feel a slow time now has passed and I have much work to do, with a renewed vigor and energy. I look forward to this new exploration in my painting. It will be interesting to see, how and if, my work is going to take on any new things in the process, or if I will approach my subjects with a different outlook.
Well, the new year has rolled in, and am excited to get working on some new material. I am hoping to concentrate more on how colors relate to one another, and let the subjects be assembled by shapes, and colors, more so, than before. I look forward to letting the energy of the brush become more dominant and line to play a bigger part in my works. All of this of course, is to be approached with the, "anything can happen" policy, and I always leave myself open for variations in the theme and subject. How a work evolves, is how it evolves. I can direct, .. but things can happen along the way which I did not anticipate. That is one of the exciting things about exploring the creative process. It holds in store mysteries, not yet revealed, until the work, becomes a work in progress.