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Dear Subscribers,
Greetings.
The abstract bug hit me again. An urge to untether myself from
representation. I'm realizing that whether or not this will eventually
manifest itself as "product" to put out there into the world is
immaterial--there is already a more important benefit: a recharge of my
creative batteries.
The journey below provided excitement, frustration, boredom, occasional
absurdity, and the opportunity for constant experimentation. I began
with a large 30x30 ampersand gessobord and a large bristle brush:
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To not have a visual end goal in mind is both exciting and very
inefficient. I'm feeling things out, one moment at a time.
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It is surprisingly difficult for me to banish all representation.
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At this point, I was ready to move on. I'd come to the end of a path,
and wanted to try something else. I scraped out the half-dry painting
and began again. This time, I'm using a knife instead of a brush.
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I rotate the painting and like it better.
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And that is where I left it. I don't know if I'll return to it or
destroy it, but for the time being, it served a great purpose. After
this long experiment, I entered the studio on a painting day and
immediately felt that a creative switch had flipped. I was full to the
brim with energy to paint representationally again. It felt new and
important.... and fun.
Here is my setup. My wife said something like, "I like your paintings
because your setups look like garbage." I know exactly what she means.
That's why I love painting still life. To make the ordinary into
something more.
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I had very little patience on the first day. A sliced orange dries up
quickly, and I'm very mindful of my time restraints. No careful umber
block-in with a brush, just straight to knife.
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A first pass on the focal slice is priority. With those preliminary
values and colors in place, I begin to radiate outwards, making
decisions based upon the idea of making the focal slice special.
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Refining, focus first.
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Always correcting shapes and perspective.
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And the finished painting, "Vulcan" (9x12 oil on panel, available):
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_____
2020 Workshops
January 18-20: Bainbridge Island, WA
Winslow Art Center
Still Life Composition & Painting
3-Day Workshop, $525
January Registration
May 1-3: Scottsdale, AZ
Scottsdale Artists' School
Still Life Composition & Painting
3-Day Workshop, $525
May Registration
October 9-11: Ashburn, VA
DebK Art Home Studios
Still Life Composition & Painting
3-Day Workshop, $595
October Registration
November 9-13: Florence, Italy
Art Escape Italy
Still Life Composition & Painting
5-Day Workshop, €970
November (in Italy) Registration
_____
Frames
I've been using frames almost exclusively from Stephen at Artframes.com
for a decade. One of my favorite go-to frames is Firenze
(the 4.75" version with dark
espresso finish). That's the one I will use for the new painting
"Vulcan". I highly recommend this framer. Check them out
.
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Thank you for reading. Until next time, HAPPY NEW YEAR. -David
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