Posting pics of my work, whether it's in process or finished, is extremely uncomfortable for me - no one wants to admit to making terrible misteps in what they do but I go ahead and do it anyway for a variety of reasons. The biggest reason being: posting the pics online somehow clears my head so I can see the work as it really is and not how I want it to be. Posting online pushes me out into the open and into a state of no holds barred, undeniability. I realize that may sound dramatic but I'm not an artist who can have people over their studio - I don't lounge around swilling wine and chatting with other artists about the state of things. I work, I work dilligently and I work alone. But, in my de la hermitage nature, I don't get much feedback on my work - by posting on this blog, Facebook, and a few other sites, I get all the advatages of a critique but without all the time sucking drama a social setting is capable of.
Sometimes the blog is goofy, like the post I put up a couple days ago. Sometimes I use it to expose my anger and frustration. But no matter what silly, seemingly frivolous thing I post, make no mistake - this blog exists to reinforce and sharpen my painting skills and to help others find their voice and courage as well.
That said:
Sometimes it's good to give up and throw in the towel on a project. But then again sometimes it's good to scrape the project down, wipe it as clean as you can and try your best to see it with fresh eyes.
A couple weeks ago I felt driven to start a larger painting. I had a tiny photo that had been on my mind for a long time and was over the top, excited to use as reference on a piece of canvas that's, in total 8ft x 9ft. The little photo is of three figures seated against a shocking white sky and deep, dark bottomless backgroud. They are clearly family and, at seeing it, I automatically knew what I wanted to do - no prob. I worked the project out in my head. No prob, till there is a prob.
My problems started when, for some reason, I derailed and chose to use basic flesh tones (on all three figures) instead of going in a more compelling or interesting direction. I want the feeling of family or relationship but it's never my desire to produce traditional and perfect depictions of family photographs. I prefer to abstract them and build an under story - imply an under current or idea.
So.... after scraping the two faces down to the canvas, I moved his head to (our) left about an inch, turned it so he's looking off to his right, gave her a bob cut and applied teals to their faces - much better. They feel abstracted and a bit more compelling. They won't stay this way, static and pedestrian in feel, but now I have something I can really work with instead of work around or simply tolerate:
It's still a little broke but you know what? - it's all fixable.
From Studio 120, my video series on Youtube -a video about working the entire canvas and not getting stuck in the details right away. Video was made several session before I scraped the canvas down and made readjustments -
http://youtu.be/XnHUN4ELsjM
But whatever you do, my advice - paint with confidence: http://youtu.be/Mm0ULVcZqTE
Available exclusively thru
Please visit, like, shae and join me on Facebook: http://www.facebook.com/BeckatReBar?ref=stream
It's still a little broke but you know what? - it's all fixable.
From Studio 120, my video series on Youtube -a video about working the entire canvas and not getting stuck in the details right away. Video was made several session before I scraped the canvas down and made readjustments -
http://youtu.be/XnHUN4ELsjM
But whatever you do, my advice - paint with confidence: http://youtu.be/Mm0ULVcZqTE
Available exclusively thru
Eden Fine Art, NYC
(212) 888-0177
(212) 888-0177
Please visit, like, shae and join me on Facebook: http://www.facebook.com/BeckatReBar?ref=stream
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