This is the beginning stage of a collage, based on the night city-scape scene from Quito. I'm not sure yet how faithful the collage will be to the original watercolor. But I am starting by mixing up approximately the correct colors from acrylic, and then often similar hues or shades next to it. The paint is brushed onto paper, and depending on how translucent I want it to be, I often add two or three layers of paint. Thanks to Mariko's hairdryer for speeding up the drying time between layers. I will probably end up making more colors, but this is what I am starting with.
Amazing. You've hit something of a stride, here. Color field guys, step back. Except for the unrelieved yellow, these are so fine in the way they balance the areas and intensities of their colors and in their wizardly execution of high painterliness. Don't be abandoning this approach to painting lightly.
-- It is relationships between the visual and the personal. It is creating art that exists outside of this world and outside of my mind. I am not depicting real places or real beings, but instead am moving between control and loss of control of the medium, hoping to discover a new world somewhere in the middle. It exists as a reality, as a space, consummated through the viewer's connection to the piece. Certain areas of each piece are intended to attract attention, but this may not be obvious at first. After looking a little further, we discover these areas, however, humbly, but strongly, holding their own. Some call these "lima beans" --
2 comments:
I like learning about the process and what you're thinking while you work
Dear Blake:
Amazing. You've hit something of a stride, here. Color field guys, step back. Except for the unrelieved yellow, these are so fine in the way they balance the areas and intensities of their colors and in their wizardly execution of high painterliness. Don't be abandoning this approach to painting lightly.
Calligraphy Lad
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