While work continues on the new book of inverted photographs, THE OTHER SIDE OF PARIS, there is also a new beginning in the painting. Although I had thought to move away from color to a pair in black and white, this new work was inspired by the addition of a fresh new color by Golden, Light Ultramarine Blue, one of their heavy body acrylics. While I normally prefer to use only Golden’s fluid acrylics, this particular color is not available in that form. Perhaps this is fortuitous, as I am enjoying the buttery texture and find it blends well with the fluid acrylics.
NEBULA continues the staining process of the preceding paintings, RED DELTA and TIDEMARK. I’ve decided to document the process a bit and so keep the camera at hand for rather candid photos as I progress. From these the thought process, the decisions that are made, can be seen.
NEBULA –Day One acrylic on canvas 30 x 30 inches
The small white areas are thick drops of fluid acrylic, as in the previous works, standing as gem-like centers for flurries of marks to come.
Some days into the painting brings a bit of intensity to the colors, and a search for pattern.
As I continue painting I realize that the link between the textile work and the painting remains strong. This painting has the range of color and appearance of a long-ago textile, dye on silk that was one of my first efforts. I often remarked that it was actually a painting on silk.
GEMSTONE Fiber-reactive dye on silk habotai
Writing this, I am reminded of something that Louise Bourgeois wrote long ago and which I noted in one of my journals, perhaps mid-Seventies. I was searching then to find “clues” from the thoughts and writing of other artists whose works I found intriguing. To paraphrase, I believe she wrote that as artists “All we do is repeat and repeat and repeat.” These words echo often in my own thoughts as I now look back on my own work. Our repetition may exist but hopefully we find that our “vocabulary” of imagery grows larger and continues to be inventive. The richness of our thinking can expand this vocabulary, to create what I like to think of as “The Richest Expression”. Which all leads back to my basic question, “How do the material and process affect the meaning in art?”