Designing a Painting: Unlocking the Code and Taking it to Completion...in action!
Most people see a work of art in its finished state. The process of
starting a piece of art is a mystery to many people. I find that the
unfinished works and sketches in a museum are the most exciting because I
can see the hand of the artist...how the ideas start and are translated
into visual notes. In a recent newspaper article referencing an
exhibit of his sketches ("Michelangelo: Anatomy as Architecture",
Muscarelle Museum of Art, the College of William and Mary, through April
11) the great artist Michelangelo was apparently very protective of
these drawings and destroyed most of them because he wanted to foster
the myth of the spontaneous nature of his genius. (His "preliminary"
sketches are so fantastic, I think the genius label would apply,
regardless).
Nonetheless, a beautifully finished painting has to start somewhere,
either with multitudes of sketches or the spontaneous perfect idea.
How
IS a painting started?
There are a variety of ways that artists start a painting, which, for
me, doesn't involved painting at all. Composing and organizing the
elements in the painting---a clusters of trees, the drape of a torso, or
vases filled with flowers--with light as the grand orchestrator,
results in beautiful, cohesive, simple patterns of light and dark shapes
as a foundation upon which the paint strokes are applied.
Many artists, like myself, translate these light and dark shapes into
small thumbnails and sketches to use for testing different painting
designs. Here are some examples of a few of my thumbnails. As you can
see, they are rough, but they contain critical elements of design. (The
left/top one is turned sideways...but the design works--and should
work--no matter the orientation...).
Not all artists employ this method for designing the space. We know that
Michelangelo wanted us to believe that he didn't need to do this.
Contemporary artist Alex Powers never does thumbnails, calling each of
his paintings his sketchbook. Artist Judith Carducci does not do
preliminary drawings either, preferring to keep all of the inspiration
for the work contained within a single painting experience.
For me, there is a dynamic, seeking, creative experience that
happens between the initial inspiration at the start, and the final
finished painting. When I arrive at the wonderful and exciting "this is
it!" moment--a moment as I have said does not involve the specific the
elements themselves (i.e. flowers, apple, etc), but rather the patterns
and poetic shapes created by those elements in concert with the light--I
know that I have "unlocked the code" for the painting that will follow,
one that has a unique DNA that will never, nor can never, be replicated
in quite the same way again. It is a magical moment where light and
elements become greater than the sum of their parts.
What follows are two examples of the" code having been unlocked", where
the inspiration has come to fruition. The painting has been "released"
from the surface!
Where can you see one of these painted
toward completion?
If you would like to see one of these above two paintings brought to a
greater degree of finish, you are welcome to attend "Muse: A Walk United
2010 Benefit", this Saturday, March 20, 6 PM - 9 PM at The
Village at Irvine Spectrum. You will also have a chance to see
several other Festival of Arts artists demonstrating their art. See
below for details:
The above paintings will also eventually be posted to my website.
Check back often!
On Monday, March 22, 7- 8:30, I will be demonstrating
at the Laguna Woods Art Association and will start with
a brand new set-up, "unlocking the code" and will be able to bring the
painting to about 50% completion. There will be a drawing for a small
original as well. Please click HERE
for details. The demonstration will be videotaped and it might be
possible to get copies of this. Please let me know if you are
interested.
On Friday, April 16, 6 PM - 7:30 PM, at San Clemente Art Supply,
I will be demonstrating the process of setting up a still life, how to
approach "unlocking the code" and will also speak about pastels and the
many wonderful painting surfaces. For information about this and my
upcoming workshop scheduled for May 15 and 16, see the San
Clemente Art Supply website for information.
Finally, I give an example of having "unlocked the code" and the
finished painting, "What Is, Was, and Ever Shall Be", now hanging at Chemers
Gallery.
It seems that there is a common element among many visual artists of
"releasing"
or "manifesting" that which is contained in the surface and is what I
have called "unlocking the code". I think that Michelangelo
said it best:
"I saw the angel in the marble
and carved until I set him free."
For most of us, it takes a lot of trial and error and digging to even
begin to see the faint outline of an angel. But that is half the fun! I
would love to see you in person at one of the demonstrations, in a
workshop, or, at the very least, on-line or by phone to enjoy some of
that fun!
