I want to use this painting at my upcoming exhibition to signal a new direction in the area of textures. In my future works, I want to emphasize color and textures. If there is nothing to see in a close up (this is the usual with my paintings), at least people will experience bumps and crevasses. Tighten your seat belts... it's gonna be a bumpy ride!Note to self: "There is no real impasto painting without the painting knife..."
8 comments:
Cool!! This looks like the texture went on first and then the painting over top. Which is a good way to add texture if you paint with a brush.
BTW I'm blown away by your travel watercolor sketches WOW!!
Amber, you're right about my approach, I started with an azo gold (plus impasto gel) underpainting with a knife then added more colors with the brush. Ideally, I would like to keep adding texture layer after layer with either the brush or the knife. Because, I favour modern transparent pigments (azo, quinacridone, etc...)I'm very tempted to mix paint with modeling paste (creamy and slightly white) instead of a transparent gel, at least for the first layer...my work will look more finished.
BTW, Amber, the close-up of your last work blew my top off. I love those paint marks partially obliterating the grain of the canvas...and beautifully "abstract" in nature...Your knife technique is unparalleled in that it does not produce the "tacky" cake frosting effects often observed with most painters using this technique (I've got some work to do!). Thanks for your comment RE my watercolor sketches... even though I'm no John Singer Sargent!
Again I thank you Ron, all I can say is I try .
To be perfectly honest. I think I love the movement of the knife more than color ,more than image The patternat a side view is really what I find interesting. I've never really expressed that before,but I think of all people you will understand :)
Amber, this is more oriental than occidental... the importance of the mark (texture or paint) translating a movement triggered by an emotion... through the way of the brush (I approached it with fluid black ink but not with paste)... or through the way of the palette knife. Amber, mentally, you're beyond paint already! This is profoundly disturbing to me...in a nice way! I want to work in large format making marks visible while remaining figurative...
Good observation I never thought of it that way. It's in the serving of the tea and not the taste.
As for your painting style I'd love to see those water colors in large oil format It's worth I try. Trial doesn't mean permanent. --But thats another topic :)
Amber, I enjoyed this exchange!Looks like we have our work cut out for the next few months....experimenting!
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