The waves reach us in many ways – from distance, from imagination, through time….and become part of us emotionally, psychologically, and physically. I suspect that is why so many of us respond so strongly to their pull. The salt water draws us in, recognizes that we too are mostly salt water, full of rhythms and tides, part of a larger greatness. Details below. Enjoy.
Is it a too simple, or is it stating a fact? Every day does begin again and again, and again. Yet they are never the same. Like waves, the variations are endless and unique. I try to welcome them all. Details below. Enjoy.
On first look, The Minutes Masquerade As Hours seems to be about observations – distant rain or a storm clearing off, the way swells roll in, the spreading patterns of salty lace on the beach. But is that all? As I worked on it, I sensed that it was more about the way we experience time. The moments as contrasted with hours, or even now as opposed to all that went before and might yet happen. Being able to deeply focus on work, in this case painting, offers a taste of non-time, of being outside time, even if it’s an illusion. It is delicious. Details below.
There’s a time for drama and a time when quiet is most appreciated. Up on Bass Rocks seems to be a meditative, peaceful morning, with a view out to sea and a retreating fog bank. But in truth, if you love geology, the thrill of touching such an ancient mountain is fantastic. In some ways, the painting is about time – long, stretched out time. The ancient granite, bruised by glaciers and pummeled by the sea, is alive with crystals and abstracted by fractures. To paint it, one’s own sense of time has to slow down as well. The layers of paint and texture can’t be rushed; the tantalizing forms need to reveal themselves. Enjoy.
Technical painting notes: The painting was built in layers. The first layer of paint, applied with a soft roller and crumpled (re-used) plastic film, was rough, streaky and transparent. I spattered mineral solvents on the paint and re-rolled the surface repeatedly to achieve grainy textures. I also spattered paint in places, for more depth. The opaque dots of paint contrast nicely with the open spots where the mineral spirits has left deficits of paint. When the first layer was dry, I layered transparent glazes, then painted into the wet glazes with soft brushes and more transparent color. Occasionally I applied paint with the roller, to get more interesting “accidents.” Additional layers of glaze and stippling refined the color and textures.
Am I becoming redundant? Maybe, but I do love the morning hours best. Maybe it’s the softer light and the sense of a fresh start. Or it could be the quiet……only the sound of water lapping the shore. This location was suggested by one of my students, and she was right – it has that morning magic. Detail below. Enjoy.
One more vigorous day out on Bass Rocks in Gloucester. It’s fun to see what one’s imagination can do interacting with reality. This little fellow was painted on prepared rough watercolor paper, which lends its texture, and a sense of roughness, to the rocks.
It was inevitable. Each time I start one of these “little babies” I’m transported to a place with fresh air and (sometimes) thundering surf, and I find myself wanting to do it again, and again, and again…….so I do. I learn something new every time, whether its about paint application, paint viscosity, color, layering, and especially taking chances. More to follow! Enjoy.