December 29, 2009
December 26, 2009
December 25, 2009
December 22, 2009
December 18, 2009
December 17, 2009
I uploaded the top image at the end of the day today. Not much of a change, but better. I work in oils and rather wet, I might add, so the paint has to dry, or the linseed oil has to set, or the turp has to evaporate before I can continue. I'd like to fashion some tiny palette knives. It's moments like these when I miss Chicago. I discovered a factory in Chicago that made Bissel® type sweepers. I'm not sure if it was the Bissel® plant itself, but my point is that I knew exactly where I could go to find quality scrap metal available for the picking- the kind that would be perfect for making teensy tiny palette knives. I'll figure something out.
I'm trying to figure if I want to keep updating this post every time I make some changes to the flower painting. That seems more arduous than taking pics at the end of every day.
Now back to this morning's post....
There will definitely be some big changes today, but I thought I would attempt to honor my previous post where I stated I would upload this particular painting as it progresses, regresses, and flails for dear life. (I'm still shooting hand-held for these in progress shots, so be forewarned.)
You can well imagine that my flowers are dead by now and that I am trying to find a substantial reason to continue my quest to paint a bouquet of dead flowers. We have a small problem, no pun intended. Working abstractly on a small scale was interesting because of the scale change and for reasons having to do with abstract painting. Painting flowers at this scale is like baking a cake and watching my cake fall because I keep opening the oven door to check on how the cake is doing. For the record, I loathe metaphors, but it's all I've got.
December 14, 2009
December 12, 2009
December 11, 2009
Again, these are works in progress. (Taken hand-held at night with no flash, just for quickie upload purpose.)
I rarely, if ever, post or even photograph a painting after one session in the studio, but the bottom painting is after two sessions, close enough. The top painting underwent a few changes as well.
The pool paintings are on hold until I go to Nashville in a couple of weeks and take more reference photos.
I need to work on titles and write.
December 10, 2009
Not that you would have known I made a promise, because I deleted it this morning, due to the mysterious rant about my STBX that made it's way into my post via some kind of trance I must have been in while writing. I allotted way more time than I should have wondering if I had spent the entire last year ranting about my divorce in public. In a quick search I only came across maybe three posts that used the word directly. Four, if you count the fact that I referenced my first divorce. Not bad.
Nonetheless, here you have a day of working on flowers. It's quite a bit more than a day, because underneath, and behind the flower, is an abstract painting formerly known as The Last Abstract Painting, a painting that for all practical purposes was finished, but needed a higher purpose.
My covenant was to start a flower painting and document it at the end of every day.
Since I don't know how many days I worked on it as TLAP, we'll roll over the time clock and mark its reincarnation, (sorry, can't help it) as day one.
Today I googled Manet's last flowers. Again.
Most of them seem to be at the Musee de Orsay.
There is a book titled The Last Flowers of Manet. It is available used. I have not ordered it. Yet.
I almost gave up on wanting to paint flowers, but I didn't.
I can't or don't want to start a painting by flowers directly- I need or want to have time to play on the canvas even if I am taking on a destination.
I am slightly intimidated by the history of painters who have painted flowers.
Flowers have a loaded history. So do landscapes, but flowers are so pedestrian and yet, there is something compelling about painting such an ordinary still life.
I feel slightly constrained by the thought of painting flowers, yet I want to.
I am going to document the painting and the process
The flowers I painted were not really the flowers in my studio. You might have figured that out.
December 08, 2009
December 07, 2009
December 05, 2009
December 03, 2009
The studio sale is in about one week. Lo and behold, I've never done one before. It's at my friend Meg's house, so I won't be carting over everything I'd be tempted to offer up in a studio sale if it were at my studio. Meg and I both are hesitant to be enthused about having a holiday studio sale. The very name conjures up patchwork and straw wreaths if you ask me, but I am taking my works on paper and... drum roll please.... grab bags. Yes, grab bags. I am excited about the grab bags. They are priced at $50 and $100. Not to sound like I'm the greatest thing since sliced bread, but I can promise that it's one of those incredible deals you really shouldn't miss. At least one drawing in every bag is worth the suspense. And, I might add, the bonus of owning two art pieces in one: for unopened, the grab bag becomes it's own little artwork hermetically sealed for future generations. Brilliant, aren't I? Definitely something for the savvy collector to consider. I've been working on them today and tonight. The fun part is going back through the pile of need-to-be-reworked drawings and finally doctoring them up. It's like collaborating with myself. You can't tell from the scan, but I went back with this one and painted the disco ball squares with silver gouache.
December 02, 2009
Who do you think you are?!!! Are you even remotely aware that all those years I spent with Abstract Painting was because I didn’t think you and I had any thing in common? Yes, of course, I glanced at you in museums, art history books and other people's work, but it’s not like I ever egged you on, or invited you over to hang out by the pool. Oh wait. That’s exactly what I did. What was I thinking? Like maybe you’d be there for a weekend or two, tucked away in the guest house. I didn’t realize you were going to bring with you local color and your photo album, and set up shop. And how clever of you to leave John Ruskin’s Modern Painters, Volume IV, Part V, Of Mountain Beauty lying around. Nice touch book-marking page 336 and 337 so that I would stumble across such phrases as, “absolute joy in ugliness,” or the “love of terror,” or “Perpetual tampering with death.” You knew my weakness for Ruskin. You knew you could use him as bait. Curse you, Representational Painting.
It's rather inconvenient, R.P., for now I have to basically splay open my life and make myself even more vulnerable. (As if this blog wasn’t enough.) Abstract Painting was expansive and evasive enough to hide behind. I'm not terribly upset with you, just slightly shocked. You caught me by surprise. It's cool. After all, you and I are still creating a universe out of pigment and marks, but still, how do I know you’re for real? What kind of commitment do we have with each other? Are you planning on leaving after the pool paintings run their course? Do I need to know that now? I recently saw a Baldessari posted over at Sharon Butler's blog that reminded me why you chose such impeccable timing, and maybe that’s why A.P. disappeared. It’s okay; we’ll adjust to each other, but let’s take it slow. You’re even enticing me to work large again, not huge, just larger. Should I trust you? Shouldn't we get to know each other on an intimate level for a few months? I'm really into intimacy now. Abstract Painting might have mentioned that to you. In fact, it brought me closer to Painting. Well, literally, of course, but intellectually and um, yes, I'll say spiritually, though I don't toss that term out in public much. It gets a bad rap.
But back to us- what will the neighbors think? What if we fail? What if people don’t like us or compare us to what they think they know? A.P. and I thought it a preposterous assumption that people thought they knew what something should look like, but now that I’m with you, people might have different expectations. Conversely, what happens if we hit it off? I was committed to Abstract Painting, but I'm wondering if I'll get bored with you. I know A.P. wasn't exactly a spring chicken, but you? You were on friggin caves. I worry about our May December relationship. What if we find out we’re not meant for each other? Would we have wasted each other's time? Would I be reminded of our failed relationship every time I looked at you stacked in a corner, or would I look at you as another component to my sleeping army?
I'm being honest here-I had a good relationship with Abstract Painting. We had a lot in common until you swaggered in with that palette knife in your holster and started showing me photographs you took. I might need a little time to get used to us, and I hope you’ll understand if I need to see A.P. every now and then. Old habits are hard to break. Meanwhile I promise to keep showing up in the studio and see what happens. I will trust both you and A.P. have my back covered.