Tag Archives: egg tempera over collage

A piece of me #16, egg tempera over collage.

A Piece of Me #16, egg tempera

A piece of me #16, egg tempera over collage.

A piece of me #16, egg tempera over collage. 21 x 13.3 cm or 8 1/4 x 5 1/4 in.

This is one of the more interesting spontaneous compositions of the overall project. When I first saw it, I wasn’t sure what the long haired girl was doing. Then it hit me, of course, she’s taking a selfie! How 21st century.

The dice-roll treatment for this panel stipulated collage and egg tempera. These are two elements that are almost antithetical to one another. Collage is coarse and heavily textured. Egg tempera is quite refined, subtle and also accentuates any irregularities in the substrate. Thus I anticipated that this one would be challenging. But in fact, as I began laying in colors and calibrating value relationships, the coarseness of the collage didn’t create too many problems, au contraire, it actually enhanced the design (for the most part), which of course is what I had wanted (but couldn’t expect).

Another aspect of the composition is the way it reads as landscape. There are clear foreground, middle ground and background elements. That meant that I needed to modulate my values in such a way to enhance the “landscape” experience. So, given all the givens – of a very contemporary subject mattered panel –  I’m pleased with the way it turned out.

A Piece of Me#36, egg tempera over collage on panel.

A Piece of Me #36, egg tempera

A Piece of Me#36, egg tempera over collage on panel.

A Piece of Me#36, egg tempera over collage on panel. 21 x 13.3 cm or 8 1/4 x 5 1/4 in.

This panel was challenging in three particular ways, first, the flesh tones. Here I decided to follow the Renaissance protocol of underpainting the hand in the upper right corner in terre verte (earth green). It’s a lightly saturated, translucent pigment, so I laid in two coats (over the underdrawing), then proceeded to warm it up through modeling. It took quite a few washes to bring life back from the dead but in the end you get a flesh tone containing many nuances you might otherwise struggle to achieve.

The second challenge was “imposing” the original design over the pre-collaged surface. Of course, the collage was based on the original design, but due to the coarseness of the collage materials, it’s by no means exact. So I had to look carefully at the panel and decide what to emphasize and what to ignore.

Which led me to the third challenge, how to create a three-dimensional modeling of my leg in a way that works for this panel as well as the final image, i.e., where is the thrust? Because in a general sense, an abstract painting is a form depicting either the essence of form or formlessness itself. So, each panel I create can (at least theoretically) be successful as an abstract painting in its own right. But from my experience of this approach, particularly with the human figure as the overall subject matter, the resulting assemblage may be quite interesting (in a tactile sense) while the figure (as a three dimensional form) reads flat. That’s why I’m trying to pay attention to overall formal aspects like that now.

You can read a description of the full project here.