Odalisque and the Virgins

I just completed two new paintings, shown below. Both are experiments that are a continuation of the painting "Arks of Shadow and Light" now on exhibit at the National BAA Encaustic Competition in Ventura, CA (See Post August 4, 2015 "My Wooly Experiment"). Recently, I've been physically penetrating the surface of my paintings. This is possible since I am painting on cradled basswood panels. "No. 22" was painted first, then "Odalisque and the Virgins" a few weeks afterwards.

Pattern and repetition seemed to be a dominating element of theses paintings. In "Odalisque and the Virgins", I elevated the paint so it floated above the surface. You will recognize that this painting possesses the technique and energy of some of my past work if you focus on the surface layer. However, floating above a moving sea of abandonment are circular shapes of pure color. Twenty five different flat colors aligned in symmetrical geometric formation – casting shadows upon the expressive worn surface below.

Carey Corea, "Odalisque and the Virgins", 

Encaustic an Panel, 16"x16"

Carey Corea, "No. 22", 

Encaustic an Panel, 16"x16"

In painting "No. 22", holes are bored into the surface of the panel, filled with color. I am often asked how my paintings are created, so I thought I'll share a little bit about technique in this post. However, some questions that might be better asked are, "Am I moved?", "Does this speak to me?", "Can it carry on a conversation with me day after day?", "I'm I uplifted by viewing it?", "Does it possess meanings that are discoverable?", or "Is it a good investment?" No! just kidding about the last one.

I hope you like the paintings. I appreciate any of your comments. By the way, I just completed the first phase of my new website: careycorea.com please pay it a visit and tell me what you think.