About the Painting, art process, Body of Work, elements of art, Inspiration for Making Art, My process, pandemic, Pattern in art, Uncategorized

Why I killed the cat

This post demonstrates how one particular painting made its way into being. You’ll see images that mark the journey, full of missteps and bumps, indecision and decision, until at last, a completed work is born.

But first, a little backstory. The inspiration for The Long Wait comes from a photo I captured in a waiting room while my car was being serviced. A woman in a puffer jacket, lost in her smartphone on the sofa near me, grabs my interest —I seem to be attracted to figures in solitary settings. I make the snap and the image goes into my reference library. 

Several weeks later the pandemic hits. Overnight, we attempt to adjust to the loss of so many familiar aspects of our daily lives. As I settle into the studio, attempting a normal routine, the photo of the woman rises above the numerous ideas I’m considering, and I choose it as the taking off point for the next painting. It’s not until I’m well into it that I realize how profoundly it expresses the experience of so many in this moment.

I choose a hardboard panel that had already undergone a considerable amount of experimentation. Torn kraft paper covers the panel, with random patterned papers on top, and a layer of red-orange acrylic paint and maybe some turquoise after that. It seems like a good start. At this point, I don’t know how much of it will be covered up and how much will remain, but I begin, knowing surprises are waiting.

Detail. Sketching in the composition. Its history is showing through with patterns and colors that may or may not remain.
Detail. Roughing in more of the figure. Will that funky chair be part of the story?
Full view. Major compositional elements are in. The green sofa on the right gives some weight to the right side. Since the figure is the center of interest, I pay it some attention. I’m ignoring the funky chair for now. I love orange, but this much hurts my eyes. There is much to resolve.
I’ve gone crazy with patterns. Not surprising, since they often come to the party with me. The shoes shift from a yellow hue to red-orange. A newspaper lies on the green sofa. There’s a Mondrian-style grid representing a window. A plant replaces the chair, something organic amidst all the geometry. The chairs moved–and doubled. Not sure about a lot of it though. There’s so much that’s not working. What to do?
The pattern has to go. I start by covering the floor with a layer of orange. The potted plant is gone, replaced by plants you seen through the window. Pillows on the green sofa help move the eye around. I’ve warmed up the puffer coat to contrast with the cool sofa color. Oh, it needs a cat! On a patterned rug! And another rug to add interest on the right! And a patterned-filled box around the foreground red chair! Well, I did simplify. Just one red chair, not two. But honestly, this has gone south, and I’m not sure how to save it. What was a painting about isolation and loneliness has become one of domestic tranquility–and not in a good way. Do I save the cat or save the painting?
Ahhh! As my wise friend Maureen says, “Details are never the answer.” I killed the cat. I scrubbed the rugs. I dug up the vegetation. Gone. A warmish gray covers the floor, allowing just a tad of pattern to remain and is echoed in the walls in varying values. The gray allows the warmth in the figure to take the stage. Kraft paper textures and bits of patterned paper hint of the painting’s early history. Greenish blue through the window adds depth and a sense of hope to the feeling of isolation. The painting I intended appeared at last. With apologies to my own resident feline, the cat had to go.

Thanks for taking this little journey with me. See details about The Long Wait here.

Join me on Facebook and Instagram for behind-the-scenes peeks and first postings of new work.

Standard
About the Painting

Four Things to Look for in My Paintings

The seed for this post was planted recently at a group show where my work was exhibited. I was having a pleasant conversation with an attendee, a woman who seemed to be enjoying her time in the gallery. She wanted to know which paintings were mine, and as we strolled around talking about various works, I began to point out several features, especially those that recurred. As our conversation closed, she thanked me in such a genuine way for increasing her appreciation of my work.

Later reflecting on the conversation, I realized that what is obvious to me can be hidden to the typical art lover. So what do I want people to look for in my work? This is a bit challenging, as so much of what I do is intuitive, but I’ll give it a try. Here are the features I’ve identified as being a part of almost every work I create, and how you might approach it.

Texture

Look for the tactile qualities of the work. Is it bumpy or gritty or fine? Smooth passages next to rough ones? Does the texture sit on the top layer of the painting, or at the very bottom? Does paint skip over the valleys and hit the ridges? Do raised lines define elements in the painting? Is there a passage of paint that looks corroded or worn? Do you want to touch the art? (Go ahead; I don’t mind.)

16342 MoonOverCanyon-Detail-3-lo-sm

Detail from Moon Over Canyon

 

16341 Detail-1-lo-sm

Detail from Deep Water

Pattern

I am drawn to all kinds of visual rhythm. As we respond to the beat in music, tapping our toes or bobbing our heads, so we can respond to the beat of the painting. Find something that is repeated. Do you notice a linear texture, or a swirl of concentric arcs, or a row of trees on the horizon? Is there a pattern of raised dots forming arcs or squares or lines? Is there an allover pattern, or is it random? What does the beat say to you? Straight lines are calm and serene; squares symbolize strength and stability; diagonals connote action; arcs and circles and spirals speak of energy.

17385 DoveInMourning-patterndetail-lo

Detail from Dove in Mourning

 

16364 PrevailingWinds-detail-1-lo

Detail from Prevailing Winds

Color

I’m willing to try any color or combination that advances the narrative I have in mind or the emotions I want to evoke. Consider how various colors make you feel. Do oranges and reds excite you? Do blues and greens give a sense of serenity? Do neutrals like white, ecru and tan make you feel quiet and calm? Do the colors tell a story, from reds and oranges in one part of the painting, to blues and purples in another section? Do the colors sing with each other in harmony or dissonance?

16369 ElementsOfTime-Detail-3-lo-sm

Detail from Elements of Time

 

16379 Crosswise-Detail-4-lo-sm

Detail from Crosswise

Surprise

If you look closely, I’ll reward you with a small surprise, a little like an Easter egg behind the wildflowers. Are those linear elements made of vintage maps? Are there little gold or silver “pearls” tucked into a crevice of the texture? Does a shiny metallic pattern contrast with a softer earthy background? Viewing the painting from across the room is one experience. Engaging closely deepens it.

16369 ElementsOfTime-Detail-2-lo-sm

Detail from Elements of Time

 

16382 MyJupiter-Detail-1-lo-sm

Detail from My Jupiter

There are art professors, docents, curators, and art historians more qualified than I to teach art appreciation. This is just my attempt to help you enjoy what arises out of my artistic vision. Even though I had something in mind when I created the painting, please don’t be afraid to insert your own narrative. It’s your response that completes the work.

 

Standard
Inspiration for Making Art

Junk, Castoffs, and Redemption

Painting is a passion for me. So many ideas present themselves, begging to be rendered on canvas. Really, there’s not enough time, canvas, or paint to get them all down. Even so, a break every now and then is a healthy thing. I’m doing that by taking on some personal work and experimenting with some new-to-me media in the process. I’ve set aside works on canvas for a bit and turned my attention to junk. Oh, excuse me. I mean “found objects.” You know. Junk.

The catalyst for delving into this new territory was the recent transformation of what had been a storage space and is now a workshop—my “she-shop.” During the clearing-out process, I discovered a treasure trove of materials. Many of them would be familiar to woodworkers, but I saw art supplies.

biscuits-lodowelplugs-lo

 

 

 

 

 

 

Some items I rediscovered, like rusty metal parts that may have originated from the farm where I spent my childhood. Corrosion, strange shapes, and mysterious tools! What’s not to love! The battered wooden box that held them is waiting for its turn in the spotlight. Its lid, broken and mellowed by time, is already taking on a new life.

rustyjunk-loassemblageinprogress-lo

 

There’s been a quite positive side effect to this recess from painting, by the way. I’ve scavenged the closets, kitchen drawers, and hidden crannies for all the doodads that have little purpose anymore except to be tossed–or turned into art. But I think there’s something deeper here. Something spiritual and redemptive happens when castoffs take on new purpose—or live out a purpose that might have been missed.They just need the opportunity to be what they will be.

Making art is good for the soul. So is cleaning out your junk. Making art from junk? I can’t help but think of Pablo Picasso’s quote: “Art washes away from the soul the dust of everyday life.”

Standard
About the Painting

Ocean wetness

16341-deepwater-lo

Ocean colors dominate Deep Water, with deep blues, sky blues, aquas and turquoises, blended with watery greens that all cooperate to immerse the viewer into the ebb and flow. Strips of topographical ocean maps collaged into the painting reinforce the wetness with their torn edges and shades of aqua.

16341-detail-1-lo

I created a highly textured section at the bottom that brings to mind the mystery of the ocean floor. The top section recalls the docks and piers made by human hands. If you look closely, you will see wave shapes I stamped into the design on handmade paper for a whimsical note. I think of them as a treat for those who take the time to dive into the experience of this painting. Final splatters of red, white, pale blue, and almost black blues offer the vitality that creatures contribute to the life of the sea.

16341-detail-2-lo

In planning a painting with water as the subject matter, I wanted to get beyond literal repetition of wave shapes. Each flowing form is different from the next, creating an overall impression of pattern, but with the constant change of  pattern elements. All this was developed over an underlying structure of textural marks that I find a necessary element in my work.

16341-detail-3-lo

We human beings seek out bodies of water. Rivers, lakes, ponds, oceans, even puddles, are places where we renew out souls. This tall, narrow painting creates the opportunity to dive deep into peace, cleansing, and regeneration. It’s well-suited to inhabit a narrow vertical space in your home or office, and to remind you of your favorite ocean dreams and seaside memories.

Deep Water is an acrylics/mixed media painting, 20” x 60” on gallery-wrapped canvas. See it in context here, and learn about the purchase process on the FAQ page.

Join me on Facebook and Instagram for behind-the-scenes peeks and first postings of new work.

All art is copyrighted and may not be reproduced without permission. Copyright 2016 Laura Hunt

 

Standard