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Experimenting with different grounds September 17, 2020 14:48

Former landscape that turned into a mess

I felt a bit stuck with that semi-landscape painting on watercolor ground on canvas. I couldn't get anywhere with it as a landscape and thought maybe it was because starting it as a landscape had been my entry into the box canyon. So I changed it up a lot, trying to push it into something abstract, but still felt like I was getting nowhere. And I thought it was just plain ugly. Bleh.  

I think part of the reason was that I just didn't feel well. Had some kind of non-COVID thing for weeks. Plus I have thalassemia, a genetic blood disease, and its accompanying anemia can cause depression and anxiety. I sure was being hit with that. And I can't paint when I'm really down. Wish I could! Instead, I just get kind of paralyzed. 

Watercolor on clayboard wip

I started up a different painting on another canvas I'd prepared with watercolor ground, but I ended up being stuck in that one as well. So I chose to mess around with some Ampersand Clayboard that I forgot I had bought to experiment with egg tempera (which I once again had learned I do not have the patience for). I found them sitting in the bottom of one of my oil painting supply carts, so I took one out and painted way too many layers of watercolor on it. These are just little 6 x 6" panels, but I did learn that yep, they are totally usable for watercolor as long as you like lifting--that is, removing paint with a wet brush. I actually have been using that as a technique after being frustrated by it for years. I always preferred to glaze, which lifting interferes with, being kind of the anti-glaze. But then when I began using dark paint and white (often not allowed by traditionalists) in watercolor, I began to see how useful lifting can be. I still have a lot to learn along those lines. This is just an experimental mess. Up in the right-hand corner, you can see where I put on so much paint that I ended up with "bronzing," as it is called--a sort of sheen that some watercolor pigments take on when you use them too thick. OTOH, you could think of it as a feature instead of a bug if you had done it on purpose. But I hadn't. However, perhaps next time...

Arrival of the Spirits wip

Then I went back to the second one I'd started to see if I could pull it out of the ditch. That was this. I had tentatively named it "Arrival of the Spirits." When I give a painting a title, that usually means that I see possibilities in it--that it might actually turn into a finished painting--although it's not infrequent that I give a work in progress a title only to abandon it and usually paint over it. I am thrifty about my supports. It's only when I can't manage to re-use a support that I just throw it out.

But this wip just kept sitting on my easel not doing anything because I couldn't figure out where to go with it. I like to use contrast in my paintings, and I had been working on that in this one. But there were so many things wrong with it. For one, I had tried to incorporate a blue iridescence that was too green. Etc.

So it sat.

Arrival of the Spirits watercolor on watercolor ground on canvas

I finally did get back to it yesterday and decided to try some drybrush on it. I first started using that when I was working mostly in casein. You dip the ends of your brush in the paint and then squeeze most of it out--in fact, it feels like you squeeze all of it out, but it turns out there is still a lot left. Then blot it on a towel. Then you kind of sweep the brush on the painting, back and forth like a cartoon house painter. It gets drier and drier but keeps on placing pigment for a long time, and even then, you can still kind of shape what's been laid down. I really like this technique. It's great for adding all sorts of shadowy depth or layers of color to a section but also good for making glow. I mixed a primary yellow with some titanium and ended up with this.

I think it's moving toward something I will finish now. Still needs more contrast and some shaping of the light parts, but it's getting there. 


Abstraction May 26, 2018 13:11

One reason why I love abstraction is because of the burningly intense colors some artists use. I love color. I also feel like abstraction is ready-made for the depiction of the spiritual. It hitches up to a different part of our brain than representational painting, IMO. And for me, it more easily and more often attains a mysteriousness that I want my paintings to have as part of my representation of the world. 

The Spiritual Landscape April 25, 2016 11:09

Work in progress, Harold Roth, 2016For me, a painting has to be more than a nice bunch of colors and shapes. It has to reveal that hidden world as much as possible, and to do that, I have to reach deep into myself. If I just stay on the surface of myself and focus on technique, then those paintings feel like just work and they don't satisfy my soul. My soul starves with that, and for me, that is not art. That is just paint on a piece of fabric. I want more. Read more...
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