Well! I thought I was done. But it's one of those paintings that invites risk-taking. And for me, abstraction is risk-taking. Rendering something true to a photo reference is the easy part. It's safe. When you start deviating from it, you're responsible for every step you take. It can take you right out of your comfort zone, and I don't need to tell you, it can be scary.
In the "previously finished" version, the truck was painted much more tightly, with carefully conforming values (conforming to "rules" of realism) and while it achieved what I set out to do- to express a feeling of hot and dusty Central California - I wasn't entirely satisfied with the way the truck was handled. Too tight and realistic. It was more of a "scene" than an artist's expression of his identity, if you will.
I have been exploring ways to break away from the more traditional depictions of scenes, and have been trying to find ways to break rules. I want to give a louder voice to the paint itself. I feel like I'm floundering in this grey area, but I also feel I'm making progress toward a different, more individual way of looking at and processing visual information. Because I'm the type who thrives under a set of rules, breaking them is counterintuitive, uncomfortable, and difficult. But I'm finding that it's also extremely liberating. I don't really know what to expect so it's like flying without a net. It's kind of addicting.
I'm pretty happy with what I've been able to do with the truck. I still see things I'd like to change, but it's already taught me a lot about abstraction and identity.
David has put forth the next "challenge". It's a photo of a bicycle standing against a bunch of junk, submitted by a fellow artist, Milind Mulick (the photo, not the junk) and it looks like a really interesting challenge. Lots of options for the focal point, and the junk provides ample opportunities for abstraction. Mike Bailey is also doing a painting from it, and I don't know who else. Should be a fun "paint-off"! I plan on tackling it also, but at the moment my house is all torn up, and my studio is piled high with flooring material. It's kind of dragging on with no end in sight, so I may not be able to meet the deadline.
In the meantime, I set up my easel in my backyard and pushing paint around when I can. Time is still very limited, but that may change soon~
I have been exploring ways to break away from the more traditional depictions of scenes, and have been trying to find ways to break rules. I want to give a louder voice to the paint itself. I feel like I'm floundering in this grey area, but I also feel I'm making progress toward a different, more individual way of looking at and processing visual information. Because I'm the type who thrives under a set of rules, breaking them is counterintuitive, uncomfortable, and difficult. But I'm finding that it's also extremely liberating. I don't really know what to expect so it's like flying without a net. It's kind of addicting.
I'm pretty happy with what I've been able to do with the truck. I still see things I'd like to change, but it's already taught me a lot about abstraction and identity.
David has put forth the next "challenge". It's a photo of a bicycle standing against a bunch of junk, submitted by a fellow artist, Milind Mulick (the photo, not the junk) and it looks like a really interesting challenge. Lots of options for the focal point, and the junk provides ample opportunities for abstraction. Mike Bailey is also doing a painting from it, and I don't know who else. Should be a fun "paint-off"! I plan on tackling it also, but at the moment my house is all torn up, and my studio is piled high with flooring material. It's kind of dragging on with no end in sight, so I may not be able to meet the deadline.
In the meantime, I set up my easel in my backyard and pushing paint around when I can. Time is still very limited, but that may change soon~
5 comments:
I nodded my head while reading this because I can really relate! I struggle with the same challenges (by the way, I find painting with a nice glass of wine helps!).
I like the top one, particularly the cast shadow of the truck and the vanishing edge between the truck's door and the sand. The only point of confusion is the darkness behind then truck. It may be how my iPhone is rendering it. It seems like a void. Perhaps that's the effect you were after.
Hey Terry,
I've been familiar with your work for quite a while and have always admired it. Did you go to Art Center and study with Bunkall?
Hi Ed, Thanks for the comments~ Yes, the dark area behind the truck has nothin' in it. I wanted a flat "shape" and not a recognizable "thing" - one of the ways I was trying to break the rules. having said that, you're right, it does look like a void. It would have been much more effective if I ratcheted up the value a notch and made it warmer. It would have given it a sense of dust, air and light bouncing around in it.
Still learnin' from this ol' truck.
Hi Tony~ thanks for visiting and your comment. I've seen your work around and now I know you have a blog too. Very cool.
And yes, I did go to Art Center - back in the late eighties when Richard was still healthy. I learned a lot from him. Such an amazing painter he was - and so sad that he had to go at such a young age.
Your Lobentruck has taken on a fun shape. Wish I had the time to revisit this project. Alas, other work and Milind's Indian bicycle scene. I'm groping about with it, but think something is finally emerging. Hey!...who said painting is easy! I really want to see your interpretation as well, but if it's after the Feb. 1 deadline, who the hell cares? Stay warm painting in your backyard and may the flooring gods be with you!
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