Rockface

Abstract painting allows a level of freedom that can be hard to deal with if one is coming from another, tighter style. Today’s post illustrates that well for me.

Rockface was done in two sessions. At first the underlying cooler colors (blue, violet, grey and black) were laid down in a rough manner. The idea was just to get the canvas covered. Once this was dry, the warmer (yellow, red, and orange) paints were applied thickly with different sized knives. Lightly grazing the paint-loaded knife across the previous dry layer is a perfect method to reveal unpredictable textures and shapes. While working the second layer two things happened. First, craggy shapes began to appear almost as if on their own. Second, I could feel the temptation to keep working the paint growing with each stroke! As any artist knows, the latter is the surest enemy of beautiful vibrant color. Fortunately, I was able to stop before ending up with a lot of mud on the canvas.

Rockface, Acrylic on canvas board, 18”X24”, $350 (Unframed)

Urban Jungle - Another Abstract Piece

Some years ago on a visit to the University of Michigan Museum of Art, I was awed by a much publicized exhibit the title of which I no longer remember. The exhibit occupied the entire main hall of the museum and consisted of 5-6 canvases, each about 60”X90”. All were completely blank with not even one brush mark of paint on them! An extensive artist statement went on to describe something about how the canvases represented a bold statement about the emptiness of the human condition, and so forth.

Displays like that probably contribute to the average viewer’s belief that abstract art can be done by anyone. I can recall seeing other examples of works in museums across the US and Europe that leave one puzzled as to why the piece is on display. A simple blob of one color on top of another says little to me either about the inspiration of the artist nor their command of the medium or technique. On the other hand, great abstract art can convey the tremendous inspiration and energy of its creator without requiring any philosophical assumptions by the viewer.

I did Urban Jungle in between some of the other works. Though a small piece, it was hard work with many steps. The paints were layered and lifted with both knife and brush. The textured appearance on the upper right was achieved by swirling and lifting paint rather than by adding thick paint. The composition is based on Bob Rankin’s idea of an uneven edge ratio in an abstract painting as a method to create interest. It seems to work.

Urban Jungle, Acrylic on 140lb watercolor paper, 6”X9”, Not for sale

Fast and loose

The term 'fast and loose' usually conjures up visions of sloppiness. Not so in impressionist painting where the emphasis on speed was often driven by the artist's desire to capture the moment. The rapid pace and minimal reworking of the paint gave rise to a style that suggests energy and movement that is hard to dissociate from the impressionist style.

Summer Scene was done in just about half an hour against a roughly sketched in composition. The only brushstrokes used in this piece are ones that either put the paint down on the paper or those that instantly led to an impression of movement. I made no attempt to smooth the paint or even out the color. Personally I think the sky is the most interesting aspect of this picture!

Summer Scene, Acrylic on 140lb watercolor paper, 9"X12", $70 (unframed)