Moving beyond focus to atmospheric
Although my last blog post was about the need for focus in creating a painting (and that is clearly still important), I’m moving beyond that into … atmospheric.
I’ve taken one of my Ronda paintings that I wasn’t completely happy with (and didn’t include in my last blog) and I’m applying a new technique (new to me, that is). First, the original painting:
This painting is about the bridge finally, but it just wasn’t thrilling me. As I was pondering what to do about it, Frank O’Cain suggested I try flinging paint at it to make it more atmospheric (à la Ching-Bor, whose technique we happened to have been discussing). Even though Paul Ching-Bor is incredibly successful, his work is largely black and white and I wanted to work in color. So with all the gay abandon of a total novice, I mixed a lot of the blue, yellow and red already in the painting into a kinda neutral color and starting flinging the paint.
Well, it was starting to look “atmospheric” but I wasn’t sure this was going to work.
Frank said to just keep going that I had to make it a lot darker. So I did.
But there is almost no sense of what the painting is. So I started spraying with plain water and blotting with paper towels to uncover more of the bridge arches. That didn’t work so well — it just made them lighter. So I went back and darkened key parts of the painting and then starting flinging again, this time darker.
Okay, it’s getting better, but it’s certainly not finished. Then again, I’m not sure how I will know when it is finished. My apologies to Ching-Bor. To be continued…