ROBIN, STUDY IN BLUE
I aim to accomplish something totally
different with each canvas–– to transform portraiture into something
that is going to surprise, hopefully, shock me. I do love the
traditional media–oil, acrylic, watercolor, the brush, the palette
knife though.
I paint from life, and if I am fortunate enough to have a model, I don’t want to ruin that rush of immediacy by using a camera for reference. Especially since I try to go beyond achieving a “likeness”. Although my subjects usually recognize themselves, if that is important. To my mind, a good photograph makes better sense in accomplishing a flattering, engaging portrait. And who doesn’t want to look good if it’s their “portrait”?
Luckily, I feel off the hook on the particular dilemma of pleasing a “patron” because I aim for the inner essence–– that which speaks out to me, and becomes a corroboration between sitter and painter, to create something original, and that with luck, possesses a timeless quality.
The
model, for me, presents an opportunity for both of us to explore and
experiment towards new directions. To make fresh discoveries in the
realm of truly expressionist art, as opposed to copying what’s posed in
front of the artist’s easel. I aim for the model’s essence in the hope
that I will refresh my own mojo.
VIBES
I
also found a softer, vulnerable side to her character which I approached
in this other painting done alternately, in the same 4 hour sitting ––
Robin 2, A Study in Raw Sienna.
I often use a limited palette for alla prima painting and tend to
paint duo studies of the same subject, following a basic credo that I
apply to every painting or drawing done from life study of the model––
One-sitting only, painted alla prima to capture freshness.
Vigorous, bold brush strokes. Pusillanimous dithering around doesn’t appeal to me.
No use of photography. I know that wonderful art is being created thanks to the miracle of digital photography, but it doesn’t work for me. It stands in the way of my ultimate connection to the subject.
My ultimate goal–– Each painting should be a freewheeling experiment, taken to its own honest conclusion.
One-sitting only, painted alla prima to capture freshness.
Vigorous, bold brush strokes. Pusillanimous dithering around doesn’t appeal to me.
No use of photography. I know that wonderful art is being created thanks to the miracle of digital photography, but it doesn’t work for me. It stands in the way of my ultimate connection to the subject.
My ultimate goal–– Each painting should be a freewheeling experiment, taken to its own honest conclusion.