I thought I would give you a peek into my art studio as I work on a new painting.
I've planned carefully, doing my preliminary sketch in a moleskine sketch book so I'll know exactly what I want to do. As I start painting, I remind myself to place single brush strokes over a warm toned ground. (That's my reference photo at the bottom.)
I want to keep my palette organized - warm on one side, cool on the other. Of course, as I need more colors I realize I can't fit them in the right order, so I revert to Plan B, which is to put the paint wherever I can find an open spot.
Still under control, though. This single brush mark seems tricky, but after a lot of work I'm starting to get the hang of it. Oh yeah, that's g-o-o-o-o-d, I'm really on a roll here, yes-sir-eee. I think I GOT that brush mark thing, except ...humm...something about it all being the same value. Okay, we can deal with that. But what about it being all the same color? I was doing so well, really in the flow, that sky is pretty darn fantastic...
Okay...fine. I'll scrape it all off, then will you be happy? How could it have all gone so wrong? Now I have to start all over, put out more paint, no, gotta wait for that surface to dry a bit or it will all go to the same color again. And you know how I hate waiting...
okay, done waiting, putting on more paint how...eeegaad, it's worse! What is happening to me...I'm melting...oh, sorry, that's from the Wizard of Oz, but something has happened to all my skills, maybe the studio gremlins threw invisible melting water on me or something....
Well, dang! That wasn't so bad. You just have to know what you're doing, and that takes ...oh, years of practice...that brush mark thing? I got a handle on it. I gave up on the brushes, you know, they were inhibiting my creative flow and all that, just took out my painting knives and went at it. I felt the German Expressionists right there at my elbow the whole time...cool how that whole gestalt thing where dead artists from the past can put their influence into the ether and I can just, like, tap right into it and...it's an "over 50" thing. Young artists can't tap into it. Oh yeah, they'll just have to wait...a really l-o-o-o-o-g time.
Dirty water or spirits, dirty palette, and going with the flow to see what the painting needs - that's what it's all about. Loved your post, Sue.
Posted by: Dawn Blair | October 25, 2009 at 08:02 AM
Ditto many of the above comments. Listening to your 'inner conversations' make me feel like less of a freak. But is it possible to tap into those dead artists at 47?
:) Thanks Sue for your candor in your posts!
Posted by: TracyWall | October 24, 2009 at 10:06 AM
Excellent!I felt like I was in your head or you were in mine or something like that lol.
Nice work too!
Posted by: MB Shaw | October 23, 2009 at 07:28 AM
Sue- I've been missing your blog and so glad I came for a visit again.
A laugh of recognition erupted when I realized I was in your good company with scraping, good intentions, impatience and the difference is that when you resort to the knife, your work comes alive.
When I resort to the knife, it's that I've usually stabbed the canvas!
Thank you for the privilege of seeing your studio process.
You've been productive and inspired, I see.
Hope you've been well- you're never too far out of my range even if I don't leave a comment.
Bonnie
Posted by: Bonnie Luria | October 21, 2009 at 11:17 AM
I love your posts and emails, they remind me I am not alone is this deluge of brilliance. I loved the brush painting as much as I love the knife painting.
Posted by: Cheryl | October 20, 2009 at 05:26 AM
Loved this post. Glad it all came together -- it doesn't always, you know. The end result is lovely!
Posted by: Jo-Ann Sanborn | October 20, 2009 at 04:43 AM