Gladiolas are a favorite flower and this was an exceptionally beautiful bunch, and while past prime, the richness of its color is still amazing. No they aren’t from my garden but a perfect segue . . . to being in the garden. My spring garden project this year was growing one of my botanical nemeses, wild flowers from seed. I lavished my attentions on garden endeavors providing a welcome distraction from the fits and starts that momentarily defined my studio efforts. This one took its bloody sweet time and having survived my relentless attacks, earned naming. Long Shores Meddling Beast #181After all that, back to something a little less chaotic, some space to breath. It’s inspired by the memory of a tranquil afternoon, backpacking in the Grand Canyon, watching the sun set on The Howlands Butte. The butte is named after two brothers killed in the canyon by Shivwits Indians in 1869. I’d started work on this canvas over a year ago then promptly ignored it. Now its mood fit mine and so back to work. Figures pirouette crimson in a misty field of ghostly white . When I set a Trap for You in an Appropriate Floating Reflection #151 .Pieces. I’ve a list of criteria guiding how and when I cut and reassemble, and #151 checked all the boxes. Take a photo of the painting. Print several copies. Cut into pieces. Paste together. Photograph. Print. This is what I got. A six inch by seven inch image, and a ledge to jump from.Landing here. Sideways on top. More pieces. Pieces of then. Pieces of now. This amalgamation driving the work forward. A synthesis of experiences molded by the passage of time and finding the words to name it. At the moment it’s just canvas #7. Thirty by thirty inches. In development.The process. Something to use. This time it’s pictures of the twisted, bent and knotted. Shot in close and tight, capturing the language of circumstance with a story to tell. And this is where they end up. Taped to the studio painting wall. A methodology authenticating belief. Images manipulated, themes extracted, geometries applied, perceptions tuned to desires needs.
Yikes. Thirty five, six actually thirty seven days since the first Tuesday in September and nine since the first one in October. I’m behind. It’s been an odd bunch of weeks that focused my attentions elsewhere, yet still on my list and underlined . . . It Happens Every Tuesday, (Monthly). Only this time it’s a bit off pace and with a selection of images attempting to capture the passing of those days.
To the folks who inquired about the missing posts of It Happens Every Tuesday . . . my sincere thanks for your continued interest in the work!
So this is it. Another beginning. And now rather than my once typical raw canvas, it’s a triple primed canvas with a ground of troweled Titan Buff, and two applications of Zinc White. The move to working on primed canvasses and developing a ground to host my endeavors, hasn’t come easily. I use a variety of media in my work . . . acrylics are the mainstay, but also dry pigment, graphite, and pastel, each requiring something to hold them in place. The problem being, the fixative altering the color of the raw canvas. After Blair reformulated my fave #105 “No Odor Spray Fix” (to my mind the perfect fixative, other than the potential of cognitive dysfunction and the environmental damage its use might promote) the experimentation has been on . . . sprays, brushed on varnishes, and aerosols. Each in their own way, altering the very properties of the canvas “au naturel” I desired. So this is it. Titan Buff mimics the hue of raw canvas. The transparent layers of Zinc White allow the warmth of canvas to peek through, and my current fixative of choice, a milk based protein in grain alcohol, has no noxious orders or unhealthy fumes.