"The true painter strives to paint what can only be seen through his world." ~André Malraux

After a year of intermittant "painter's block"  I am working again in my studio, and feeling in a tentative positive state. Painting is a solitary activity, and as artists, we are often working in a vacuum. Unless we have a show hanging, reaction to the work is minimal. With several pieces underway, I decided that perhaps if I write about what I am doing or am attempting to do, it might act somewhat as a muse for me as well as give me some feedback on the work I am creating -- hence the establishment of this blog. 

As for the blog title, traditional, representational painting is a language for expressing what’s visible. But I feel my work is the most successful, and most interesting, when focused on things not entirely visible. I paint what I see but also what I sense and feel by utilizing my interior and unseen world --- in other words, the invisible world. Plein air work or  studio work from photographs are only touchstones or landmarks which guide me to other inner spaces. By so doing, I find that I am pushing the boundaries between representational and abstract work.

You can enlarge the images in this blog by clicking on them.

Jan 10, 2011

Windswept Cranberry Bog (Siasconset, Nantucket, MA)

Worked on my large vertical piece of Nantucket cranberry bogs today, introducing some of Bert’s suggestions from the other day. I am at the glazing stage, mostly, and that takes time, a little one day, let it dry, a little the next, with the goal of a richness and depth of color: I glaze back the underlayment again and again and then add highlights. I hope to impart the interplay between dense, compact color areas and lighter, dynamic surface brushstokes to suggest the sense of the autumnal weedy bogs, saturated with the cranberry color, here and there . But I need to keep it loose, and not overwork it into a too representational rendering.I am having trouble with the color of the water. I have decided to wash the sky almost completely white.

Went back in the night, while John and Rebecca were enjoying Tosca in New York at the Met, and worked on it further. The dogs were in a frenzy for me to come to bed, Szuszi kept rushing into the studio and yelling at me, but I did not leave the studio til almost 3 AM! A photo will come soon, but it needs some more glazing, and dulling down.

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