Recently, I finished a piece that I have been keeping under wraps a bit longer than normal. I think I have mentioned before that this piece is headed to Florida for a show organized by Victoria Selbach for Poets and Artists Magazine, that will be held at Sirona Fine Art this February. I am working on framing and packing the piece this week and I wanted to talk a little about my process behind making the painting. If you can’t sit through a little art talk, feel free skip to the end and just get the details about the show.
It is no secret that what separates bad art (and mediocre art) from the good stuff is often (always?) some element of suffering. Just like riding a roller coaster, a song that tells the story of pain that we can relate to (or glamorizes pain that we will never feel) lights up our brains in the most pleasurable ways. Something about facing suffering, in a controlled manner, is just extremely satisfying. I won’t pretend to understand why this is, but if you have ever faced two similar works of art and tried to understand why one makes an impact, while the other falls flat, this is usually a big part of the answer. Good artists have a (sometime unconscious) fundamental understanding of this and that is where “the rules” come into play.
First off, it should go without saying but I am going to say it anyway, good artists are good at making art. Seriously. I am going to go out on a limb and just say that every good artist has gotten to a point in their art making where making art got fairly easy. They got to a certain level of technical proficiency, they started to understand the aesthetics of their particular artistic language, whatever… making art started to become second nature. This is where “the rules” come into play.
If good art is about allowing people to safely suffer, to face difficult subjects, and it is coming out easily, you have a problem, you are not pushing hard enough, and the final product (art) is not going to be effective. If you do not feel anything when you make it, people are not going to feel anything when they look at/interact with your art. Hobbyists enjoy making art, artists work hard. When making art starts getting easy, when there is not enough suffering in the studio anymore, artists start creating barriers for themselves — they invent rules for their art work and process to follow. Ultimately, understanding the rules that an artist has set for the creation of the art can reveal a lot about the final piece.
Are you still with me? Am I completely wrong here? If you are an artist, do you not work within a set of (ever tightening) regulations?
As I was working on the piece that I would ultimately decide to send to this show, I was posting a lot of images of my progress on my website, on Instagram, on Facebook, and I got a lot of interesting feedback. Mostly, it could be separated into two distinct groupings:
The people that think my paintings are kind of weird (in a good way) thought I had pushed it too far towards realism, therefore I had created a somewhat less interesting piece.
The people that think I am a pretty good realistic painter thought this was a step forward in my ability to paint things that look like the thing I am painting, and therefore this was a more interesting piece.
In my mind, both of these groups of people are missing something. I am not intending to paint people as entirely weird caricatures, I am not trying to accurately render things to the best of my ability. What I am trying to do is create interesting paintings that communicate something, while working within my own set of artistic rules, and there is one rule that all my pieces follow. One rule that really defines the look of my paintings, even this one.
If there is one thing that really makes painting images worthwhile in a world where photography is so prevalent, it is the act of painting itself. The fact that some foolish human took the time to painstakingly create an image, gives paintings a weight that photography can not achieve. With that in mind, I go out of my way to make my paintings as labor intensive as possible. I use a small brush and mix every stroke individually. I spend more time than is necessary on pieces and try to leave obvious evidence of this in the finished product. I want to push the fact that some idiot human (that’s me) just spent a month creating something that a camera could have done better in 5 minutes. Painting this way is not the right way to do it, it does not produce the most realistic results, it distorts colors and adds strange textures, it complicates things. If I was more successful, this is the part where I would make a stink about doing it all myself and not using studio assistants, but I think at this point in my career that goes without saying.
In this piece, I have toned down the textures that are normally created by working this way, and people seem to have noticed. I did this so that other distortions could take the stage. I wanted the piece to feel unstable. The skin is not as textured and the colors are more even, but I tried to play with cool and warm areas within the body, allowing some parts to push back into the blues of the background and then shifted the lines of the blanket so the figure felt as though it may also be in danger of falling forward. I wanted the figure to feel pushed back into a corner, while still maintaining a strong gaze toward the viewer. There are a lot of small things happening in a simple composition and allowing too much texture in the skin made the piece feel overly busy.
The painting is being sent off to Florida, so be sure to check out the show if you are in the area, or in Poets and Artists Magazine, if you are not. The show has an amazing array of artists, all with a unique way of looking at women in their art. Best of all, it gives me a good excuse to get out of frozen Boston and work on my sunburn in Miami.
If you want to join me there, check out the opening reception event on Facebook.
Artist’s Gaze, Seeing Women in the Twenty-first Century
Curated by Victoria Selbach
Dates: February 21 to March 22, 2015
Opening Reception: February 21, 2015
Featuring work by:
- Aleah Chapin
- Alison Lambert
- Alyssa Monks
- Bernardo Torrens
- Brian Booth Craig
- Cesar Santos
- Christian Johnson
- Cindy Bernhard
- Daliah Ammar
- Daniel Maidman
- Delita Martin
- Dorielle Caimi
- Erica Elan Ciganek
- Erin Anderson
- Hollis Dunlap
- Jamie Valero
- Jason Bard Yarmosky
- Jeff Faerber
- Jennifer Balkan
- Judith Peck
- Krista Louise Smith
- Lauren Levato Coyne
- Maria Kreyn
- Mark Horst
- Mary Beth McKenzie
- Matthew Cherry
- Melinda Whitmore
- Mia Bergeron
- Michelle Doll
- Nadine Robbins
- Nick Ward
- Park Hyun Jin
- Patrick Earl Hammie
- Reuben Negron
- Richard Thomas Scott
- Ryan Shultz
- Stephen Early
- Stephen Wright
- Susannah Martin
- Tim Okamura
- Victoria Selbach
- Wesley Wofford
- Will Kurtz
Lavaughan Jenkins – Untitled
Mia Cross – Fish Boy and the Case of the Roving Ear
Percy Fortini-Wright – Large Professor
