Also please check out my second blog, The Painting Archives to see older (pre-2004) paintings for sale.
Sunday, May 02, 2010
new painting and thoughts on texture
The painting above, Sandia (54"x30" oil and wax on panel) will be on its way in a couple of days to a collector in Chicago. The close up shot below shows the surface texture of the middle panel, which was created through scraping and scratching--plus a technique I've been developing involving solvent washes and pigment.
Lately I've been interested in pushing the actual texture of the work, the way it feels to the touch. This varies from painting to painting--depending on the amount of scratching and gouging vs. the degree to which I have smoothed everything over with brayers and squeegees. But in addition, there is always visual texture--complex and minute shifts in color, line and tone that evoke weathered surfaces in natural objects, rusted metal and old walls. Ever since I was a child (with collections of rocks, shells, beach glass and old bits of metal) I've been drawn to the patinas created by nature and time.
For me texture is not only visually beautiful and compelling, but it's also meaningful in its evocation of aging...and in its complexity, symbolic of experience and memory. Experimenting in the studio with various ways to create textures that look and feel organic (often because the process behind them mimics natural processes of accretion and erosion) is endlessly fascinating. ¶ 8:30 PM
The painting above, Sandia (54"x30" oil and wax on panel) will be on its way in a couple of days to a collector in Chicago. The close up shot below shows the surface texture of the middle panel, which was created through scraping and scratching--plus a technique I've been developing involving solvent washes and pigment. Lately I've been interested in pushing the actual texture of the work, the way it feels to the touch. This varies from painting to painting--depending on the amount of scratching and gouging vs. the degree to which I have smoothed everything over with brayers and squeegees. But in addition, there is always visual texture--complex and minute shifts in color, line and tone that evoke weathered surfaces in natural objects, rusted metal and old walls. Ever since I was a child (with collections of rocks, shells, beach glass and old bits of metal) I've been drawn to the patinas created by nature and time.
For me texture is not only visually beautiful and compelling, but it's also meaningful in its evocation of aging...and in its complexity, symbolic of experience and memory. Experimenting in the studio with various ways to create textures that look and feel organic (often because the process behind them mimics natural processes of accretion and erosion) is endlessly fascinating. ¶ 8:30 PM
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Thanks Jala...I haven't made the leap into that degree of minimalism but I do get what you're saying.
Can I ask - how do you respond if people want to touch, to experience, the surface of your works?
# posted by 
: 5/5/10 4:16 AM
: 5/5/10 4:16 AM
I'm absolutely fine with that! The surface often feels more smooth than you would expect from the visual texture.
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