Tuesday, November 1, 2016
For the last months of summer and for the beginning months of autumn, I have been working on two different oil paintings which create a contrast between form and atmosphere. Using many passes of relatively thick paint, the objects acquire a rhythm to them. Considering the negative space brings both harmony and chaos to the composition. I have been working towards actualizing refined observation through tactile markings with the hope of building emotionally moving paintings.
Blocking in the objects.
Progressing through form and atmosphere.
Sharpening the values and details.
Creating the composition.
Painting with values.
Developing emotions within the painting.
This past April and May, I traveled to Italy to work in an intensive painting program at the renowned Florence Academy of Art.
The courses were conducted by the realist painter Jura Bedic, a principal instructor who began mastering his technique in Florence at the young age of 18 years. Jura believes a work of art must offer the textures, colors, and tones to one’s eyes to become something more than just an illusion. He truly is a master painter and I was quite lucky to have his tutelage.
Moving forward as an artist in the world will always be a constant goal. The experience I had at the academy changed me. I now work with more increased observation, looking for the subtle aspects of form and space, creating paintings which access deeper sensitivity.
Detail of a figure painting, oil on canvas.
Detail of a portrait, oil on canvas.
Detail of a portrait, work in progress, oil on canvas.
My model, easel, and work in progress.
Work in progress, oil on canvas.
During the first months of 2016, I spent most of my studio time learning solarplate printmaking.
A technique created by Dan Welden in the late 1960s, it has been used by many artists around the world to create etchings using the sun to expose their images. Though there are quite a bit of different versions of this fabulous technique, the process basically consists of creating a piece of artwork on translucent film, overlaying it onto a light sensitive polymer plate, exposing the image under ultraviolet light, washing out the soluble areas left on the plate by softly scrubbing them out in water, and then finally printing the image. It may have just as many steps as traditional intaglio techniques but it does not have the toxic chemicals which must be managed when using acid washes.
I am pleased to include these four solarplate intaglio prints in the upcoming 36th Annual Mini Print International Exhibition in Cadaqués, Spain. Artists from 50 countries and all continents will be represented in this wonderful exhibition which showcases all forms of printmaking.
“Heliacal I”, 2016.
“Heliacal II”, 2016.
“Heliacal III”, 2016.
“Heliacal IV”, 2016.
The perfect guidebook.
My studio press (a gift from artist Valerie Fussell).