B.C.
Large Leaf Maple
Thursday, November 27th, 2008
Large Leaf Maple, 36 x 12 x 3 Muslin, glue for stiffness, acrylics on wrapped canvas
The leaves have many more coats of paint, and as seen here I imagine them glowing in the moonlight. Since Saturday’s Encaustics workshop I’ve decided to do the whole thing with Encaustics tecniques, see right sample; the leaves will be texturized and the flat canvas will be smooth. Encaustics apparently don’t adhere to acrylics, so my solution is to try a product I’ve not tried yet, clear guesso. I need my own supplies too, which Santa will be bringing.. It would be nice to continue finishing this immediately, but more time spent contemplating the next stages is probably best anyway..
Going for the magic every hour
Friday, August 15th, 2008
Great moments in painting - the addictive kind - are when you completely lose yourself in the work and time is non-existent. I’ve had a good week with this one, partly because of struggles overcoming the habit of trying to control the outcome. Things happen in every painting that are not planned, and dealing with them by either eliminating them or using them is part of the fun.
At this phase some solid strokes need softening again; finding a balance between the two. The lighting is the biggest challenge so far, plus making a subtle transition in style from top to bottom and foreground to back that will bring our attention back to the top half of the painting. Now, how do I go about doing that I wondered, I only have a hunch. After adding mid-tones a couple of days ago there were second thoughts about 
doing so, because the whole painting became dull and flat, entirely not what I wanted it to be. Briefly discouraged, I thought this painting would join the I-don’t-know-what to-do-next pile. When unsure I look for answers in the very basics, like concentrating on what do I know for sure rather than what I don’t.
I do know for sure want the glow of magic, so yesterday took a leap into the darkness with pure colors straight from the tube. There’s a huge sense of freedom trying something out - and ironically the more afraid you are the better it is. It’s the intermittent periods of doubt that spur determination to conquer issues and at the same time entice you to quit!
Painting is considered to be a two dimensional undertaking, but it’s so much more. While lost in the work process we explore all the dimensions of the subject plus the deeper dimensions of ourselves. While painting we discover our convictions and the means to ask how far are we willing to go to stand up for them. Work every day is about continually reevaluating decisions, taking responsibility for choices made, being honest about mistakes, shortcomings and limitations of media and self, and digging deep to find technical and intuitive solutions. It’s about control of all those elements combined with easing up on trying to control too much. All this and more translates onto a flat surface as we hope to give the illusion of depth…if that isn’t magic I don’t know what is!
The work process
Wednesday, August 6th, 2008
Started July 17th, I’ve tried various ways to have our eyes sweep up to the top half, like creating an abstract of wide brushstrokes of dark and light, plus scrubbing areas away that almost hide the bottom characters. It’s covered up since with more paint, but I may return to that idea when the proportions are corrected.
A camera captures all the details, but when we look at something our eyes focus only on one area at a time. In a photo, with the bottom portion of the totem clear it makes sense, but not in the painting. Most of the detail will be toward the top of the statue, but the bottom deserves as much attention, just of a different kind. The colors are starting to come together in a way that will imply light from the sunset and moon glow coming from opposite directions.
A word here about Artists’ appropriation of First nations or any other cultural/historic works: subjects painted with due honor and respect, with purpose to study and draw interest to the importance of appreciating our multi-cultural world and the unique, beautiful characteristics of each and every culture…this is what Artists do. Robert Genn and readers of The Painters’ Keys have some very interesting comments all around the board about this topic.
Magic Hour, progress
Sunday, August 3rd, 2008
Magic Hour detail image, top half of 60 x 40 x 3 inches Acrylics on canvas. I decided not to lighten the background after all — am leaving the background as is with loose brushwork in contrast to the totem pole which will be much clearer. To achieve the weathered look I’m using a dishwashing scratch pad to remove some of the paint. Work in progress.
Salt Spring Island
Friday, January 18th, 2008
Salt Spring Island, B.C. early morning - 18 x 24 inches - pencil, eraser, dry pastels, colored pencils on paper, framed size 28.5 x 34.5 inches. Drawing details:
Credit to my Dad, Jim Drury for the photo references.
Salt Spring Island - WIP
Thursday, January 17th, 2008
Salt Spring Island, B.C. - 16 x 22 inches pencil, eraser, dry pastels, colored pencils. Stages1 and 2 in progress:
