Oil over acrylic on cradled board, 30" x 60"
Available for sale at RiverSea Gallery, after June 13th
Click image to enlarge
I thought some might be interested in the development of this recent painting. It will be available for sale during my upcoming solo show at RiverSea Gallery, in Astoria, Oregon, June 13--July 7.
Many of my paintings begin abstractly, with random gestural marks and rapid, intuitive color choices. Some remain more or less abstract, while others, like this one, turn into more recognizable forms--in this case, a seascape.
Here is the initial abstract lay-in for this painting, done in acrylic:
I actually liked the energy and color in the painting at this state and considered leaving it. But I did have a vague notion of wanting to end up with something ocean related, so decided to forge on. If you compare the finished painting with this, you'll begin to see that there are certain gestural lines and shapes that ended up forming the skeleton for the piece.
Here the structure of stone and water begins to emerge:
I liked the amorphous, misty quality that was coming out, but it seemed too chaotic and unresolved design-wise at this point. The painting is surrounded with coastal photos I've taken, as well as work by other artists that inspire me.
Artists often speak about how a painting leads it's own life, and this seems so true to me. Rather than directing the course of the work, it often feels more like I'm just along for the ride. The stroke put down earlier influences the next one, just as our yesterdays affect our tomorrows.
There were many changes before and after this stage, but hopefully this gives some idea of how a painting comes to be. Thanks for reading!
Many of my paintings begin abstractly, with random gestural marks and rapid, intuitive color choices. Some remain more or less abstract, while others, like this one, turn into more recognizable forms--in this case, a seascape.
Here is the initial abstract lay-in for this painting, done in acrylic:
I actually liked the energy and color in the painting at this state and considered leaving it. But I did have a vague notion of wanting to end up with something ocean related, so decided to forge on. If you compare the finished painting with this, you'll begin to see that there are certain gestural lines and shapes that ended up forming the skeleton for the piece.
Here the structure of stone and water begins to emerge:
I liked the amorphous, misty quality that was coming out, but it seemed too chaotic and unresolved design-wise at this point. The painting is surrounded with coastal photos I've taken, as well as work by other artists that inspire me.
Artists often speak about how a painting leads it's own life, and this seems so true to me. Rather than directing the course of the work, it often feels more like I'm just along for the ride. The stroke put down earlier influences the next one, just as our yesterdays affect our tomorrows.
There were many changes before and after this stage, but hopefully this gives some idea of how a painting comes to be. Thanks for reading!
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