As I catch up with my necessary duties as an artist (marketing, organizing, packing, shipping, emailing, inventorying, etc.), I am itching to get back in the studio to explore and play with the exciting new approaches to my art I discovered during my month-long residency at FAWC in Provincetown on Cape Cod. From toying with more abstract thinking to working without references, from meeting new faces to meeting famous faces–Paul Resika, Berta Walker, Constantine Manos–I have so much to internalize about my experience. Good thing the winter hibernation season is coming soon. Not that I hibernate of course. But those nice quiet snowfalls will be perfect backdrop as I dig deep into my thoughts.
Posts tagged ‘acrylic’
As a Copley Artist member I have an opportunity to submit artwork to planned exhibitions. Most recently a call for entries arrived called “GRIT-the urban landscape”. I almost dismissed the idea of entering as my work usually is nature-based with simple structures–certainly not gritty and city-based. The more I thought about it the more I was intrigued by the idea of taking this theme and interpreting it my own way.
My first attempt to sort out my approach is shown here a the left. Bold structure-like forms with window shapes and reflections interconnecting and overlapping in a similar way to how my brain feels when I go into any city especially for the first time. I may a well have jumped into the middle of a weaving loom full of threads and been asked to organize the colors and lines to find my way. Complete overload. Here was one way of visualizing that sensation. I stared at it for a while, overnight too. But it wasn’t speaking loudly enough to me.
In effort 2, I began the process of somehow enriching the experience in a way that made it more complex. Adding lines and areas of color that created a sense of evening, introduces a curved-dome suggesting a church, introduced an intense color area at the bottom suggesting the street level where most of the color happens. And of course added a suggeston of the Zachem bridge in the background.
Another day and night goes by as I evaluate it’s chances of seeing the light of a gallery wall. It could have been a keeper, but I was not satisfied yet. Out came the scrub brush. (I have heard many friends say you wiped that out? I love that one! How could you? Ughh. It is after all my sense of what is right…right?) After hours of work it is always a tough decision to either keep it, rework it, or completely smudge and smear til it gets to a point where I feel I have a base to move ahead again.
And so away it went. Scrubbed into a neutral blue gray gritty-looking background of texture and color. Now that was a surface I could work with. What did I want to say about the city? I am always impressed by the color as it contrasts with the stone grays of building materials found all over any city. Granite, limestone, pavement, cement, dust, dirt, smoke, hazy skies, misty air. Then there are the signs–retail, traffic, business, sandwich boards, all vying for attention while creating a cacophony of noise and distraction and confusion. That’s what I’ll paint about. And while I’m at it I’ll rotate the painting canvas to a bold horizontal where the expanse sideways will be as powerful as the vertical thrusts of the building/street lines. Now we’re talking. Me and my canvas.
I selected complementary colors of oranges and reds to contrast with the blues of the background hoping to heighten the busyness effect of the concept. A night and day notion–where there doesn’t seem to be much difference when living in the city–is represented by the dominant white building/street/subway-like line through the middle linking foreground and background imagery. Curves of a sky area reflects into a waterway representing moonlight blue evening sky. Traffic signal light at lower left adds a playful bit of color suggesting stopping, slowing and going are all part of the city life.
Hope you’ve enjoyed this glimpse into my process no matter where you thought I should have stopped. Now I must go…
Edit October 2014: After looking at this piece, I decided it needed more work. The top image of this post reflects the new final piece.
Overcast spring day provided some glimpses of sunshine that lit up the magenta rhodendrons on the back side of an historic barn in Goffstown, NH known as the Captain Carr House. Sun stayed out long enough to capture the beautiful neutrals of the greys and spotlight some grass in the background. I could have done without the bugs and falling leaves but all in all a good day to paint. I enjoyed trying to keep focus on the flowers while balancing the design with the soft greys of the barn. I didn’t have a bright pink color in my plein air palette so I added the flowers with quinacridone magenta when I got home. Acrylic on canvas, 8×16. Applied with palette knife. Hope you enjoy this piece. Contact me if interested in purchasing. To see more of my work please go to http://www.anntrainordomingue.com
Last summer I did a painting titled, Raking Light, a 36×36 that described a late afternoon low tide at a sandy beach in Provincetown. One small area of the painting approx. 5×5 inspired this enlargement at 24×24. I loved how the coarseness of the under-texture allowed the acrylic paint to sit up on top of the raised areas. And adding other color layers allowed those underneath to still peek through. Having fun creating new works this endless winter using this idea. No title as of yet. Ideas?
Here is a quick look at what happens when I am not happy with the progress of a painting. I start scrubbing out areas and mashing others together looking for something that unifies the separate pieces that are not working well together. And the version on the right is the result. What for me is a resolved image and one that is a keeper. This sunsplashed scene is inspired by a snapshot of a building on the grounds of Strawbery Banke in Portsmouth, NH.
In this painting there are 8 segments, each could be a small painting on its own but I have opted to build all these into one large 36×36 to see if I could unify all pieces together on one panel. I have done small paintings of the segments in the past using other color schemes and slightly different designs. But putting them all together in a block-like fashion and hoping to retain a sense of order–not in a chronological or book style– but in a way that allows the viewer to make up their own idea of what this piece is saying to them. See more of my art at www.anntrainordomingue.com or sign up to stay informed on my FB Art Page at www.Facebook/anntrainordomingueart Ann Trainor Domingue, messy, uncommon, friendly contemporary art inspired by but not beholden to the New England landscape.
Scenes like this in coastal Maine–full of shapes and color, lines and forms, complex details and light–are scenes that I enjoy sorting out and abstracting elements to work with. I don’t know the exact outcome when I begin just that there are enough things that interest my imagination and then I begin the process of building a painting. See website for recent works http://www.anntrainordomingue.com