History of a painting ( part 4)

Overall patina. The river disappears in the fog.

Overall patina.
The river disappears in the fog.

Ascending lines

Ascending lines

Ascending lines. One line, one brushstroke .

Ascending lines. One line, one brushstroke .

The cloudy sky and the general structure make me think of “immaculate conception” paintings,specially Zurbaran. I have something now I want to explore .

Detail

Detail

Detail

Detail

image  To be continued ……

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Catalog

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History of a painting (part 3)

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I tried some flowers but they were not satisfactory . Perhaps because I was rushing them to feed this blog. So I decided to slow down .I went to the canvas with my hands in white paint and build this structure without much planing,  two big masses that ,in the negative space, suggest the turns of a stream of water. So, it’s getting somewhere  (streams normally do) but I’ll stop now and wait for a little help. In some of the other smaller painting that I was working with this week I saw some interesting developments that I would like to try on this one . This group is very homogeneous ,so it easy for them to help each other. And I’m not going to stop it.

but I still miss my cow hide……

3rd day

3rd day

Next canvas….. ( to be continued …..)

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Canvas

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I wanted to stretch some linen, but the floor  of my studio was full of paint puddles and fresh oil stains. So I took stretcher,linen and staple gun to the main corridor. It is a humble job that of mounting the canvas on the wooden frame.

Suddenly I found myself kneeling under the watchful eye of Mathew Barney , dressed as a priest !

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Painting

Forest of paintings in process

Forest of paintings in process

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History of a painting (part 2)


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Too much paint.Good bye to my cowhide. But some interesting new landscape appear .

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I don’t feel like working on a big horizon dark landscape, so I buried the hole thing  under a moving blanket of
white paint.

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I’m not happy with he nature of the cotton for the type of painting this is turning to be. But the image of a pond appears in my head . So I ‘m going to go hat way. Down poring drips as vertical reflections , I tried them many times. They never work. This is a boring moment in the process. You lost your initiative and now you need to figure out what is it that this painting has in it and if he is willing to collaborate or is just there waiting for you to make mistake after mistake and then have a big laugh at you.

 

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If i let it dry and tomorrow I came back with new eyes I may have the chance to follow on what I have now .

No. I can’t stand it! Back to white.

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I put some gesso directly with my hands. I do that for the first time in my live , and I LOVE IT ! Is fantastic .like massaging the painting . So may be he would star to love me back a bit more before I loose my temper and finish him off. This gives us a window to a future together ! Let’s see!

I never tried the hands painting before because I always use oil paint, but whit this backgroudns it can be done perfectly well in acrylic . So I shall investigate that lead, see what happens. I like the directness and a sort of fullcontact fight thing that is going on,primitive ,bodily.

 

imageBut gesso and water base paint are unbereably flat ,so I put a oil patina to increase the depth in the material. Not jet in the general image, that by the way I see now it is growing to be in the line of the Ophelia series. I’ve only done 3 or 4 this size and it is the ideal one.

Now, if tomorrow in the studio I’m still happy with what I have. A different, much slower phase of the painting begins. More looking,more concentration ….

to be continue ……..

 

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History of a painting (part one)

imageI have in my studio a beautiful stretcher , 78 by 110 inches built years ago by my friend Fred Esher . I needed the canvas for it and I was so anxious to start that  instead of going to my regular supplier in Brooklyn , I went to a smaller shop close by in Soho. They didn’t have linen that size in stock. The only available canvas that large was cotton duck, good  American cotton duck, three times cheeper than the one I want. I decided to buy it,I know I’ll regret it later but I need to try it. I drove with my purchase to the studio and before lunch time,the canvas is stretched and the first coat of gesso applied .
I was anxious to start because ,this time,I now what I want to do, a “cowhide” .I will follow the same steps I took to make “La Bête”, a painting of the same size that I believe to be among the  best three or four works I painted this year. I already try to use this’ painting technique a couple of times since, but fail miserably with color,shape,depth,scale… Basically because I was working in a rush ,with the end result ahead of the process.

So I begin by preparing my paint mix and sticking the piece of carved wood that ,acting as a dorsal spine ,will create a tent-like situation for me to control the poring of paint.

First step

First step

Second session

Second session

Next day

There are things I like but it doesn’t have the depth and touch of linen. I start the process of observation , what to add, what to remove,just intuitively . I decided to increase the depth of darker areas with Egyptian violet, that is to play an important roll later.

3rd day

3rd day

Nah….I can feel that I’m losing spontaneity because of fear. So,I should stop and let it rest. That much I know by now.

But…. I want to paint……

to be continued……

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Ritz-Carlton, NYC

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