PAINTING
This painting is about one year old at my time of writing this. I am not
completely sure it belongs in this collection. It was very honest in its
execution, but I have some reservations about the conditions I set myself before
beginning it. I think more time needs to pass before I will know for sure how
I feel about these matters, but for now I will include it, as it feels right to.
I stopped painting in the spring of 1995 for various good reasons, but in the
summer of 1999, I again found I had the time, money and the desire to paint.
I fired off a few successful works, but they felt too much a product of the same
mind-set which led me to stop painting a few years before. I decided that if
I were to continue, I would have to approach painting differently right from
the start to have any chance of escaping the usual traps. With this in mind I
set the following conditions for myself:
1. The painting must be of a subject which I have deep feelings for.
2. I must know what those feelings are, and stay aware of them.
3. The painting must be made while in the presence of the subject.
4. The subject must not be artificially lit or arranged.
5. The painting must not try to copy the exact appearance of the subject.
6. There are to be no sketches or studies made.
7. The painting must be completed in one session.
8. The pallet is limited to the 3 primaries, the 3 secondaries, and white.
9. The complete work will be laid-in in clearly separated colour masses.
10. The essence of the work must be contained in these colour masses.
11.A modulation can be made to a mass only if it enhances the expression.
12.Tube oil paints must not be modified with thinners or other mediums.
13.Colours must be mixed with the brush, on the pallet or the work.
14.The painting is completed only when it feels right.
15.A painting is not a precious object, so make it on paper.
The purpose of these conditions was to try to eliminate all the learned
gimmicks I employed from studying academic painting, and painting too many
pleasing portraits. If it seems extreme to place so many limits on creativity
then I suggest you may not be aware of just how contrived many creations are.
I in no way suggest that following the above list is a formula for making
honest paintings for anyone, except perhaps me, and then again, only because
painting for me became too formal, too theoretical, too artificial, and
altogether unnatural. I had to do something to displace the bad habits.
I faithfully followed my conditions. I was actually very uncomfortable while
executing the work as it was so different from the way I usually painted.
I had no way to judge whether the painting was going well or poorly except
by checking the feeling of the work against my feeling for the subject, and
where it felt wrong, adjusting it. I proceeded this way until I could no
longer see anything which felt wrong; then, it was done.
One problem with such an approach is finding subjects which I have both deep
feelings for, and want to paint. My pumpkin "place" is my shrine. Few other
things are as meaningful to me. As not just any subject moves me, condition
number one will greatly restrict my output, and so it should if I am to
paint honestly.
This work is in my collection.
Your comments and questions are welcomed. E-mail me.