Here is #51, next in the egg tempera series. It’s an abstract design (of a section of a plastered wall) that, at first, had seemed deceptively easy. But, in fact, the area of gray and white depicted on the far left required integration, that is, it stood out like a sore thumb until I had supplied a light echo to it on the bottom, right. They say a missing word can cause a poem to bleed. I find the same is true of a painting – no matter what the subject matter. Alternatively – when it’s successful – a work of art is driven by its own inner unity, to which the artist must kneel. An overview of the whole project can be read here.
Here on the left is the first in a long 64 part series, now officially “off the press”. A full description of the whole project is on my companion wordpress web-blog site, atelierartisanal.com. So in all these panels I want to create a painting – interesting and hopefully beautiful in its own right – separate from any recognizable form either I or the viewer might want to impose. These are then, all abstract paintings (which in fact are based on close-up sections of a photograph). Thus aesthetically, I am trying to pay attention to: composition (the play of light and the tensions inherent to the already given shapes); color (the contrasts and relations of hues); paint (areas of opacity and translucency); texture (the tactile qualities of the paint, collage, or pre-sculpting); value (highlights, shadows and everything in-between). And though I am interested in reproducing the original image, I’m not interested in absolute fidelity (as, for example, a Photorealist might be). Dissonances can and should arise. Therefore, most designs are transposed free hand – not mechanically. And relative to this image, you can read more about the low-relief sculpting process of pastiglia here.