As part of a Skillshare class again, Abstract Art With A Twist: Personalize Mondrian, I reexamined my misconceptions about Piet Mondrian. I’ve dabbled in other projects that played around with his look, this bowl in glass was one of my favourites. Continue reading
Just one of my small candy paintings but I wanted to play with acrylic mediums a little more, I know nothing about them so it’s all play and learn. It always seems like I’m starting completely fresh but before long, I find there’s things that I already know how to do. Continue reading
I’m not entirely comfortable with working abstract so, for me, that means working abstract for a while. I started, as I often do, with a class. And a painting that started as a light reflection became an examination of the ephemeral nature of my usual work and the value that is placed on my time when I’m painting compared to when I sew. On this basis alone, I would recommend the class. Continue reading
I have a love of the literal and I’ve been working hard on realism because it’s what my brain tells me equals skill or ability (not true! I know, I’m working on it). Working from reference photos or actual items has been a daily pursuit. I wanted to tweak it a little though because sometimes you just don’t have a reference, you’re trying to create a painting of something that couldn’t possibly exist. And with GISHWHES starting to crest the horizon, I need to start limbering up for doing impossible things in short times. Continue reading
The sunset postcard is probably the best watercolour landscape that I’ve ever done. I don’t generally do well with the loose or fast style of painting but I had taken a class that taught a different technique for painting gradients and it totally worked for me. I painted the postcard in the morning and in the evening, dropped it into a mailbox bound for Hong Kong. Not even an envelope for protection, just naked. Continue reading
I’ve always been afraid of paint. My technique has only recently come along to a point where I can use the word “technique” and not snicker. But, of course, the way past any fear like that is to charge at it as much as you’re able until, sure enough, it starts to get a little better. Or, at the very least, a little less accidental!
I was lucky enough to spend the day wandering the WAG with two of my favourite women. Twice! The 100 Masters exhibit let me see paintings by artists that I have studied with intensity, trying to decipher HOW George Reid managed to show the light in just that way.
Van Gogh’s texture absolutely terrifies me. It took everything that I had in me AND the presence of a security guard standing 6 feet away to keep from touching the bronze flower in the centre, the paint so thick for each petal.
And how does the giant red block of David Blackwood’s door not completely overwhelm this painting? My eyes kept moving.
I wish that I was more comfortable working with abstract images. I want to be. Jean-Paul Riopelle said that he didn’t believe that abstract painting and the natural world were mutually exclusive. That one inspired the other and gave it emotional context. I want to adopt that.
So many plans now, so much clarity about what to do next.