End Game

Intuition plays a big role in my working practice.  I strongly, intuitively, wanted to add some red resonance to this piece, in most of the peaks of the diamonds and certain other areas.  It became difficult in the end game moves, to darken the highlights with the desired red infusion, which was previously very light cereulean.  Eventually this worked out and the red was managed in, sort of glancing off the cereulean midtones, towards the tops of the forms.  After having sufficient red and restrengthening the deep blue outlines the goal had been reached.  

As an extention of the theme, of the psychic conflict between the mind and the infinite identity, the ambient form background, which developed in the previous piece (see April 24th On going Musings), was used as the central theme for this small blue and red piece which was begun with the Shaman's brush.

Since the piece was mostly executed in the wine country of southern France, I decided to title it "Vintage", as we lived in the wine country and I'm hoping this piece will improve with age!

Opening Moves

I liken painting composition in phases similar to movements in the game of chess.  Chess has basically three phases, opening moves, development, and end game.  The development is generally the longest and most fun.  The end game is a little more tense and challenging and editorial.  The opening moves are the gestural structure of the proposed composition which can be altered in the process of development.  

I discovered the Shaman's Brush theory as a creative way for myself to make general opening moves.  As an added bonus, the Shaman's Brush I choose is often a branch of a tree or plant in Nature, and therefore it automatically imparts a natural image reflection of itself.  I've also found that I enjoy doing the border first of a composition as it makes a natural frame and has a centering quality which is a modern art device.

The Shaman's Brush in prussian blue

The Shaman's Brush in prussian blue

Applying the prussian blue with the Shaman's Brush

Applying the prussian blue with the Shaman's Brush

On Going Musings

Passages in a work are like transversing a section of a river in your kyak or canoe, passing by calm areas and challenging rapids, and finally finding a save beach in which to camp for the night.  There, for the night, having a good meal by the camp fire and sleeping warmly in your tent, you wake up, have a good breakfast, take a few deep breaths, and go on for the next passage of the day...after so many of these passages, finally you reach your destination.  This would be the point at which you leave the painting, finished or unfinished, where you feel you cannot add to it without subtracting from it.

No. 3 Infinite Self Versus Mind Series (Psychic Tension)

New Series

A new series of lyrical abstract compositions based on an attempt to depict the conflict between the ego mind and the deeper personal sense of infinite being in a playful manner.  The title of this piece is "Forerunner".

One Thing to Consider

When embarking on a work of art, especially one that will take some length of time to complete, or a painting that takes many sittings, it may well be to keep in mind that you may be a different person when you sit down for a different sitting on the same piece.   Therefore keep this in mind for the depth and breadth of your composition that you may have to factor in completely different and fresh ideas from the new perspective of having changed.

New Work in Progress, Detail

New Work in Progress, Detail