This is my first experience in varnishing highly textured works. So far, I've been using regular permanent acrylic varnishes... but I have a feeling I'll be switching to archival oil varnishes sooner then later...For the next 6, I 'd like to part from the red chiaroscuro color scheme and experiment a little. I learned that textures and sweeps of the palette knife could communicate a fair amount of palpable emotions as long as the rational part of the brains does not get involved too much (it's the difficult part for me!). However, my overly prudent approach has prevented me from using a similar approach with the brush. It has to do with my tendency to second guess my brush strokes (something I have never done with watercolors or Chinese black ink since each mark is definitive). After my heavy use of the palette knife in this series so far, I'm getting cocky... and I believe it's time for me to tackle that demon.
This quick second step was done with this in mind. I have a general mood in mind for this painting, but it may I may end up somewhere else...
It suddenly dawn on me that a primary objective of mine is to "move paint around" with whatever tool at my disposal, both to communicate my emotions but also to make the process behind my paintings very apparent to the observer (the observer becomes to painter!). My security blanket: the degree of perfection will be dictated by the number of layers (ideally, the lesser the better).Note to self: "I seem to want to use the same prop as one of my previous paintings (dark area on the right). If somebody asks me the reason why, I'll say it represent emptiness, the meditative mind..."
Sub-note to self: "For the first time, I feel I'm making concrete steps to evolve from image maker to painter... to start using paint for its own sake!"
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