Oil on Linen with Gold Leaf 16″ x 20″
Beginning 1 & 2
Hair: meaningful in so many traditions and cultures. The way that we wear it may be a statement, a passive rebellion, an identifier, an obsession, a tabu or even a code. It’s a point of pride and a worry, and it’s oh so personal. It’s meaningful to me and so much fun to paint. That’s why I wish I had kept this piece simpler, as in the early stages (directly above). I may go back and make a drawing or an alla prima of this composition in the near future.
Oil on Linen 24″x 24″
One of those paintings that I keep fussing with. I’ll probably give it a week of rest and then fine tune it a little bit more.
Oil on Linen 8″x 15″
An exercise I could have taken farther, but decided to leave as is.
Oil on Canvas 12″x12″ Alla Prima
In this piece, I’ve mixed mindful linear accents with an even focus of hues and values.
I’m working furiously at the moment, so please forgive my lack of attention (for the time being), to all of your terrific blogs. I’ll move back into blogger mode soon and enjoy catching up with you. I so appreciate you insightful comments and kind support. Thank you!
Acrylic and oil on canvas 18″x24″
For this piece, I followed the same procedure as “Active Resolve” . I’m finding it a satisfying process, at least for the moment;)
An alla prima oil 11″x14″
Ribbon Study Oil on Canvas 16″x20″ A study, for another ribbon themed piece.
Two variations of K.
There are so many ways to portray a subject. Even when the portrait is figurative, a straight forward depiction of likeness; a literal likeness of an individual, it’s a challenge to decide which aspect of your model you want to highlight or capture. That said, I’ve been playing with “sets”. These are two figurative, straight up portraits of an individual, exploring two very different ways of seeing her.
-Please forgive the less than ideal photos of these oil paintings. The human eye blends the color and values, my lack of expertise with a camera seems to separate them-
I LOVE to paint portraits, people, figures, gestures. In the hands of a skilled and thoughtful artist, Old Master or contemporary, there is no subject more compelling for me than a portrait. But, paintings of people can sometimes leave me less than satisfied. They can sometimes appear to me, too pretty, or too gimmicky, too separate from the viewer, or too…vacant. I wondered what would happen if I pushed all of these notions? So, I did.
With this third painting, I decided to glaze with opacity (a paradoxical notion), in order to create a ceiling, if you will. A separation between subject and viewer, like the photos I’d taken of debris, still, under a frozen pond. This painting is no longer a portrait because it does not reflect what I know about my subject. Here, she is merely reference for a painting. It speaks for me, not for her. Got to say however, that I enjoy this outcome:)
The three experiments in oils have helped me come to some conclusions about the way I like to work, what practical methods I find satisfying, and the thought behind what I want to make. I think that now I’d like to further explore both my appreciation for portraiture and my personal prejudices about portraiture, to see what might happen next.
Thanks for your kind comments and interest! I’ll keep you posted;)