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It was during this painting that something started to…happen. I started to see and respond in terms of painting not drawing. I could feel myself carve rather than render and in that the painting started coming to life. I like how she looks both dimensional and comfortable at once.
Sometimes I wonder why on earth I've taken up this not-at-all-easy task of learning to oil paint. It was during this painting that I realized it's the interplay of science and art that intrigues me, how it's the union of both that is needed to capture beauty. Science and art, light and shadow, Heaven and Earth. It's the union of opposites that makes things whole.
I'm so eager to attend the next life drawing session and build on some of these breakthroughs but I leave tomorrow morning for my final 10 day yoga therapy training in Calgary. And really, it's all the same subject, whether I'm painting someone or helping them heal, it's all about whole-making.
I finally made it made it back to life drawing! So much unexpected upheaval in the last two months kept me away, upheaval that resulted in some unexpected gifts like my first real art studio and the growth of my OT/yoga therapy business.
This is Laurence, one of my favorite models in town, painted during a 3 hour session. I am very slowly/hesitantly/eagerly delving into the temperature and value thing. Although I haven't painted at all since the workshop two months ago I can see progress in my understanding here.
Laurence will be taking this pose again and I look forward to refining this painting further. I've haven't had the opportunity yet to work on a painting of a model for more than one session. I waver between the feeling that I could make it better or screw it up, reminding myself that in order to create I must be willing to destroy.
It's been too long since I lasted posted. My business is growing in exciting and unexpected ways and I've been working to accommodate both its growth as well as the time I would like to have as an artist. I took an incredible class at the Scottsdale Artist's School with Sherrie McGraw, David Leffel, and Jaqueline Kamin two weeks ago. I'm so thankful for their brilliance as instructors and their generosity in sharing their knowledge. This is my second ever attempt to paint a figure in oil.
I loved being able to paint from 9-5 each day. We were all joking about how frustrating and exhausting learning to oil paint is and how your brain starts to lose it's battle by about day 3. One student said "You forget who you are and who you owe money to." It's then that the magic happens and you shift from seeing according to your familiar habits and perceptions to seeing what is truly right in front of you.
We finally had a male model at life drawing this week! He had a beard and bald head with long strands of hair. He struck awesome Renaissance style poses. This is a 10 minute sketch. I love the way it turned out and shows how less is more.
I painted this in a 2.5 hour life drawing session. My focus was on capturing the light and painting with paint which means using mass and brush strokes rather than drawing with paint. It's a huge shift in both seeing and doing. Less is More! It's so easy to get caught up in drawing unnecessary details which is the death of a painting. Every time I lost my way and defaulted to rendering I took it as a cue calling "Come back to the Light!"
I made it back to life drawing last night, it was the first chance I've had to attend to my artistic life since the Taos workshop. The model had amazing pre-Raphaelite hair and when she turned her in head in this pose I jumped at the chance to draw a portrait. The language of drawing is different than the language of painting so it was an adjustment to be working with line again.
What is common in both, and also in yoga therapy and craniosacral is that Less is More. It's a universal principle. When we force we lose touch with the essence of our subject, we push our will onto it rather than give space to let it "what is" emerge. Sherrie pointed out that what people commonly see is optical illusion and it's up to the artist to point out the truth. I saw that when drawing both the lips and the outside edges of the eyebrows. They looked darker at first but when I actually followed the light they were not as dark as I originally thought. When I backed off from what my mind thought was true and became quieter and drew less the true essence of the model was able to emerge.
I like to take photos of paintings in progress to see the various stages and also capture where I might have veered off course. This was actually my first portrait of the Taos workshop and while I wasn't ultimately happy with the final outcome I like where it is in this stage. This is where I first learned to push paint, rather than draw with it, and to use the model as a reference rather than just copying what I see.
