Juicy Pear

Pear, acrylic on canvas board, 8"x10"

Small Landscape

Sunsplash, Acrylic on watercolor paper, 5"x7"

Wishing for Summer

Wishing for Summer, Acrylic on paper, 5"x7"

Third abstract in the red series

Red 3, Acrylic on mixed media paper, 6"x6"

Another small abstract

 

Red 2, Acrylic on mixed media paper, 6"x6"

Small abstract

Red 1, Acrylic on mixed media paper, 6"x6"

Untitled

Untitled, Acrylic on canvas, 18"x24"

Large Abstract

1. 
   

City by the Sea, Acrylic on canvas, 48"x72"

Vortex

Vortex, Acrylic on canvas, 16"x20"

Joe Digiulio Workshop -- Fabulous Experience!

Untitled pieces from an abstract acrylic art workshop by Joe Digiulio. Very instructive, energetic and with lots of personal attention. The annual Art of the Carolinas is a great celebration of art put on by Jerry's Artarama in Raleigh, NC and well worth attending. There are lots of courses by well-known artists in various genres and media, along with a fabulous trade display of the latest in artist materials.

Summer Garden

Summer Color, Acrylic on canvas, 16"x20"

Abstract in Progress: Part 3 - Are We There Yet?

There are times when it is best to call it done whether the painting makes you happy or not. The abstract I started a week or so ago is now in its third iteration and it is not very satisfying. For now, I am going to set it aside and go on to something else so as not to keep overworking this piece.

Maybe I will come back to it some day or maybe this is it. Who knows?

Understanding, Acrylic on canvas, 18"x24", Not for sale

Abstract in Progress: Part 2

I don't know how hard it is for other artists, but I find it difficult to know when to call a painting finished. This challenge seems even bigger for non-objective expressionist art where the only frames of reference to define "finished" are completely inapplicable. It is not the purpose of abstract art to "look like something". So when is it done?

The unfinished abstract I posted a few days ago continues to evolve and I am not sure where it will go. Your ideas and comments are most welcome.

Understanding, Acryic on canvas, 18"x24", Not for sale

Abstract in Progress

I have not previously posted paintings in progress, but this is is different. I started working on this abstract after watching Bob Rankin's video about the 'edge ratio'.

The edge ratio is a concept that attempts to define an element that contributes to heightened interest in an abstract. The edge ratio is the manner in which the edge of the painting is segmented on the four sides. Theory proposes that interest is sharpened if the edge ratio is uneven on the four edges i.e. each of the four edges is segmented differently from the others.

Understanding is an abstract in which the edges are divided unevenly. The challenge still remains that a focal point of interest needs to be created so as to draw the eye inwards. Where should it be? I have not decided yet but decided to post the unfinished picture anyway in case you feel inclined to comment.

Understanding, Acrylic on canvas, 18"x24", Not for sale

Focus of Interest in an Abstract

Abstract paintings often seem to be a meaningless arrangement of color and form. In fact, careful study will reveal that the most striking abstracts have a clear focal point. In most contemporary abstracts, the focal point is usually defined by the point of maximum tonal contrast.

In Untitled Abstract, I experimented with a mostly dark background and then built up the color until the lightest highlight. The shapes have an organic feel to them without any objective representation. Additional texture was created by running a large comb through the second and third layers of paint. An old credit card was used to push the paint around and create some of the flowing lines.

Untitled Abstract, Acrylic on canvas, 36"x24", Not for sale

Old Fence

WARNING: Painting in watercolor can be addicting!

I have recently come back to watercolor after a break of almost a year. The speed with which paintings can be completed in watercolor and the fresh color that results are highly rewarding. Of course, mistakes are difficult (if not impossible) to correct. So not only must the artist be bold and confident but strive to be right with each stroke of color.

As I came close to finishing Old Fence, it seemed to me that the flowers were not bright enough so I used a bit of red and yellow gouache to give them more form. Otherwise the hardest part was sketching the fence and negative painting around it. I like the cheery end result. Tell me what you think.

Old Fence, Watercolor and gouache on 140lb paper, 9"x12', $30 (unframed)