Behind women's eyes III - step II... Letting the painting in progress speak to me!

I had a different color scheme in mind...

... but I decided to follow color patterns dictated by a different paint behaviour (it's over 30 degrees outside with very high humidity). I intend to do some limited modeling with the next color pass in an attempt to keep intact the rough look of this first pass...

These days, I seem to want to take on one of my demons... the one that wants me to work my paintings to death until there is no life in them!

This is another 36 X 36 canvas...

Note to self: "Over the last 3 years, I've developed a number of useful techniques with acrylics that fit my personality (impatient, restless). I think the time has come to forget about them... and let intuition take over! At this stage, at least for a while, there's no need to go from one technique to the other... in search of the holy grail!"

Behind women's eyes III step I - Another attempt at a visceral portrait!

I'm curious if I can replicate the same "loose style" technique as the previous painting...

... I have spent a little more time with the drawing to ensure a minimum of corrections... and avoid applying too many layers of paint!

Behind women's eyes II final... One of those perfect days!

We had the grand kids around for a day. Imbued with their spirit, I finished off my last painting project within 15 minutes...

Needless to say, I'm counting my blessings!

Behind women's eyes II - step III... A second color pass leaving me "gaga"!

Not having a lot of time at my disposal today (I spend most of my Fridays trying to impress the "muse" by prepping the house and the garden for the weekends), I proceeded with a quick layer of semi transparent colors...

I don't know what to make of it... but I know there's no coming back!

Note: I wanted to part from the model with my initial drawing... but the model's character prevailed in the end... since it was closer to what I wanted to convey deep down!

A bonus today: the hibiscus looks like a "pompous ass"...


Note to self: "I think I'm evolving towards strategic darks, strategic transparency, strategic opacity, strategic textures, strategic bare canvas, strategic brush strokes and strategic palette knife strokes. In a nutshell, the coexistence of all paint application strategies right from the outset, implemented intuitively and in total freedom, none of them dominant!"

Behind women's eyes II - step II... The rebel is showing up... for the first time?

I let go with this first color pass, and what had to come out came out...

The face went from angelical to totally raw... but it does express what I wanted to express about this kind of stare! I used both the palette knife and the brush and tried to accomplish as much as I could with this first pass doing everything at once. This time around, I tried to leave decisive marks with whatever method I was using to compound the various textural effects. I think this result expresses the unadulterated truth about me. The second pass should be brief and final... and introduce a minimum of lies!

This is another 36 X 36 canvas.

Note to self: "On second thought, the previous painting was certainly decorative but not really visceral. I want to pour my guts for a change in the realization of my future works!"

Subnote to self:"Is this a new trend?"

Behind women's eyes II step I... Trying to short circuit "light over dark"!

My previous method for "light over dark" seeming sub-optimal...

... so I'm reverting back to drawing as first step. For the underpainting, I intend to apply dark areas only where needed... and will attempt to obtain the same potent textural effects as the previous painting... but with potentially less paint and a more streamline process!

Note: I've finally settled for "behind women's eyes" as a name for this new series...

Behind women's eyes I final step... a little wet behind the ears with the palette knife!

This is really my first large portrait (36 X 36) using more palette knife than I'm used to...

... and I'm still trying to find the balance between different textural effects. In a way, I want to avoid being gimmicky with the overuse of a specific formula! Looking at the "light over dark" approach, my heart is balancing between a bravura style using the brush exclusively and this more "visceral" approach leveraging textures. It would be nice to combine the two... without loosing to much either way!

When I did the 2nd pass for this painting, I couldn't help but think about a more decorative and stylized approach for this series. While in Madrid a few years ago, I was stunned by Manolo Valdes' ultra contemporary approach using sowed burlap or canvas and impasto oil paint. In particular, I liked his simple lines and powerful designs which reminded me of Matisse. I need to find a way to retain the abstract quality and the freshness of my first passes and not obliterate everything in subsequent passes! However, this would be very similar to painting with watercolors... each move needing to be decisive and final!

Note: I'm departing from my model with this painting, and this is my intent from now on...

Note to self: "I achieved the visceral character I envisioned for this painting, however, I failed to introduce a certain level of imprecision from one layer to the other, being too concerned with the application of paint. I would have liked the face to vibrate as if in movement. This is definitely something I want to achieve short-term... I'm not sure how!"

Behind women's eyes I step III... Forging my way by alternating scumbling and scraping!

On this second pass, I found it easier to use a scumbling technique while I was still trying to find my way...

Before the fourth and last layer, I will apply another coat of a "faux encaustic" acrylic formula to keep building refractions and give somewhat of a waxy look to the whole painting. I'm looking at improving colors by reintroducing the palette knife in the facial area. Also, further improvements in facial proportions will be the order of the day...

Note to self: "During the previous pass, I saw the potential for an interesting contemporary approach based on fluid transparency and opaque passages. However, by the time I noticed, it was too late to make this potential new approach work. Gotta save that one for rainy days!"

Sub-note to self: "In a mischievous kind of way, I seem to be looking at creating a laboured look in 2-3 passes... how presumptuous!"

Behind women's eyes I step II... Trying not to lose face... with a new evolving technique!

Not much time to paint today. I did take some time though to find a face in my previous obscure color mess...

... and seem to have found a path. So far, I've been using the palette knife exclusively. The next few passes will be done with both the palette knife and the brush. My aim is to slowly build contrast from one layer to the other.... and go for a look that's "rough and beautiful"! Along the way, analyzing each layer (what I like and dislike) will help me develop a more optimal technique for this "light over dark" approach. I kinda like the effect of spreading light colors over a dark background with a palette knife... and obviously want more of that in my future paintings!

Note to self: "Based on previous experimental paintings including this one... it is becoming clear that strategic darks will ultimately be the answer. I went from a fully dark background to a partially dark background (the face area with this one)... so its heading in the direction of more economy with dark areas..."

Behind women's eyes I step I... I've got the soul... now can I get the face!

I'm leaving the concept of the "macha" series... at least for a while. For now, I'd like to do a series of visceral portraits to accompany my Yoga series...

... I'd like to go beyond the skin surface... so I'm starting just there!

From a technical standpoint, I want the visage to emerge from the dark... as opposed to the light. I want to work with a multilayered approach with a fair amount of refraction... and lay each layer "out of phase" with the preceding one. Gee, I seem to want a lot of things these days!

Note to self: "My aim is to produce intimate portraits that won't end up in a portrait gallery. If this is my new mantra, then, this is a good start"!

The Beaverbrook art gallery in Fredericton - part II...

My visit at the Beaverbrook art gallery in Fredericton went like a blur... I'm still trying to synthesize what I saw over there! Other powerhouse painters that I missed in my previous "top of mind" nomenclature: Dali, Colville, Carmichael and Pratt. However, two other contemporary artists (I had mentioned Scherman in my previous post) really caught my attention: Graham Sutherland and Lorraine Simms. I knew some of the abstract works from the former owing to a monograph that I acquired in a used book store, but was unaware of his portraits (the gallery permanently features his portrait of lord Beaverbrook). My use of green along with other colors has been relatively timid over the last 3 years... this artist's abstract body of works can definitely be an inspiration in my future figurative works. The latter, Lorraine Simms, is an artist from Montreal. A stunning contemporary portrait from her "fugitive" series was featured in the entrance hall. A short-term objective of mine is to detach myself from pure realism, and to that effect, this artist's approach is most inspirational.
Finally, upon my return to Montreal, I managed to secure a firm date for my next exhibition at the Pierrefonds cultural center: February 4-6th, 2011. This later date could give me the opportunity to include a number of paintings from my new "macha" series. I may have to rename the series though to make it fit with the Yoga theme... or even change its scope! I'm thinking "Body and soul" in reference to these 2 series! A new short-term challenge for me in the rendering of human faces would be to go beyond the skin surface and attempt to touch the soul. A bit ambitious since this could take a life time to achieve! I want to produce some real visceral works!

Victorian style living by the waterfront for "the common barbarian"... part two of an unlimited series!

We had a glorious 8 days of vacation in New-Brunswick and along the St-Lawrence river. First off, thanks to our friendly neighbours (Marie and Rico) for taking care of the flowers in our absence...

... owing to your help, we are still in business for the rest of the summer!

What a great time we had along the New-Brunswick coastal area...

... and what can I say about New-Brunswick that hasn't been said before. Metaphorically speaking, I could say that the province is like a giant lobster: most impressive on the outside but even more appreciated for what's inside, i.e., its fun-loving and most welcoming people... some of them being downright huggable... they will recognize themselves!

While I was there, I took the opportunity to visit as many galleries as possible and to talk to local artists whenever possible...

... a special thank you to Amber Lounder for taking the time to share with us a few of her stunning works and those of a number of local artists through a "guided" visit at the Heron Bay gallery in Shediac (incidently, I was also most impressed by Skyrie's abstract paintings). All in all, it was more than a "common barbarian" deserved!

While in Fredericton, I was blown away by the Beaverbrook gallery : I didn't expect close encounters with works from Molly Lamb Bobak (a powerhouse in NB), Tony Scherman (his contemporary encaustic paintings have always blown me away), John Singer Sargent (an oil painting that could have been a precursor of his stunning watercolors), William Turner (yes Turner, how possible in this neck of the woods!) and Sisley, a well known impressionist to name a few.

The cherry on top of the sundae: the architecture in Fredericton. There are impressive Victorian homes all over New-Brunswick (as an example, the maison Vienneau where we stayed in Shediac) but what we saw in Fredericton was out of this world. We stayed at the Carriage House Inn...

... a good example of what to expect over there.

In a nutshell, mission accomplished for "our Canadian vacation 2010"...

Vacation time... the usual mixture of nature and art!

For our summer vacation this year, we are hitting the Canadian East coast. The house has presented a few challenges recently (replacement of air condition unit and furnace, some renovations and repairs)...

... but, in compensation, we've had a glorious summer so far... I may even miss the flowers for a week!

Although I expect the ocean side scenery to be stunning, the prospect of meeting with local artists along the way unleashes the kid inside! As usual, I'm packing my watercolors...