Thought this too surreal an image not share, all in my pursuit of shadowy composition . Yesterday was a frustrating day (let’s just say home ownership taxes studio time) but when I did finally make it to my cell I was productive . Sadly I am here at the Little Hermitage until new pipes replace ancient plumbing worthy of the Romans; not what I had planned. I will draw and be at home with the beasties today but I am eager to return to make more progress now that I have some inkling as to where I want to go. The use of mannequins is not new , Poussin I think, fashioned little figures as did some Renaissance painters, but it all seems so fresh and exhilarating to me.
In my desire to improve my paintings I am trying to make more effective use of shadow. I am hoping to create convincing space while preserving that sense of otherness. I am still digesting the feedback from PAFA (not to mention my friend, the artist Judithe Hernandez) , namely the uniformity of light and lack of obvious shadow in much of my work. I have defended this in the past as some tribute to early Renaissance paintings, and there is truth to that, but it is also true that I really just do not understand shadows that much.
To remedy that I have constructed a cardboard mock-up of the painting I am working on.
Obviously I would need quite a large cardboard box ( and many more mannequins ) to get a truly accurate sense of space and light, but editing the image into in monochrome has clarified things quite a bit. I have also translated the image of the painting into black and white (thank you Judithe!) and that should be enormously helpful as a roadmap; already I see area I would like to heighten and diminish.
I will fiddle around some more but feel I have a better inkling of where to go. Kind of.
Just another twist in this journey of self discovery, it is often very humbling how little I know…
With my new studio finally set up , I haven’t any more excuses to not get back to work. I have filled my days with organizing and seeking order out of what was mad chaos . I think I have pushed the chaos back and now must face the most frightful demons , my fears that I won’t get back in the groove.
Taking a deep breath and beginning one brush stroke at a time … Tomorrow .
Until then , a few snaps of my new digs. My studio is in Highland Park, about 15 minutes from our Little Hermitage. Aside from the convenience I have the good fortune of being studio neighbors with the incredible Judithe Hernandez. I’m thrilled.
Wish me luck slaying the demons .
Two of my paintings have been accepted in this collection of strange and wonderful work. My new yet already dear friend Liz Huston is curating the show , she is a sensitive aesthete and I know it will be a place of wonder. I’m thrilled to have been invited.
Details follow , should be grand as costumes are encouraged , I’m working on my ensemble this week, thinking the Antichrist. Would love to see my local friends at the opening !
There was only one causality with this complicated move of home and studio, the movers dropped my print making press. I have been sick about it, imploring fellow printmakers for advice, for any suggestions as to who can look at it to assess the damage ( tradesmen who repair small presses seem as scarce as hen’s teeth).
Facing my fears I ran a proof , and it though it is not on lush paper, so far it looks; my stalwart press may be dinged and less showroom glossed, but she carries on with dented dignity .
Still if anyone knows of a technician I would appreciate the lead.
Making headway in the new studio, unpacking and organizing the increasingly shrinking square footage; my steadfast chihuahua my loyal if sleepy companion .
Heading home so he can nap in a proper bed. Good night.