Substance and Spirit: April 2015

I agreed to do a commission for a good friend (Bob) who recently purchased one of my paintings. I usually say that I like doing commissions and that my background in commercial art has conditioned me for client interaction. Luckily, my friend is open to abstraction and has experience empowering artisans. The source of inspiration for the painting is a photograph of a Cape Cod bay near his summer home, taken when the light is low in the sky. Traces of the presence of man are only barely discernible a few boats, a portion of a home, a boat dock. The overall scene is placid and quite beautiful.

Crows Pond, Cape Cod

This post has turned into a diary of sorts. Sorry for it length, but it took on a life of its own. The post provides a daily account of the work and a rare glimpse into the mind of the artist. It includes both thoughts and painterly actions instrumental in the creation of this commission.

This journaling is a first for me.

I made dozens of sketches before beginning. And the client requested a sketch before giving me the green light. Because of my preliminary thinking I was able to quickly send a black and white pen-line sketch with color and production notes. It illustrated how I cropped out the bottom half and part of the right side of the photo. I received the go-ahead. I had previously prepared the 30”x30” cradled panel by sanding the edges to avoid slivers when handling, applied blue painter’s tape to the cradle to keep it clean, strung a braided wire so that it could be hung on the wall while the work was in progress (taking off the easel periodically is a must), laid out the composition (converting the photo to a square format, deciding on a 2/3 to 1/3 sky to ground ratio), and roughed in the background colors with a light oil wash.

Thumbnail Pen-line Layout of the Painting with Notes

Day 2

I spent most of the day on the top 2/3 of the painting. I referred to the photo to capture the color of the clouds and the sky, which contributed to the feel of the scene. I fell into the trap of trying to replicate the color of the light and the shadows as they appeared on the clouds. I also tried to see the clouds and sky as compositional elements – seeing the space behind the clouds not as background but also as an equal element as if it had a life of its own. Things did not go well and at the end of the day I was kicking myself for engaging in a process that I am not accustom. In frustration I decided to change the game. I took a nail and carved a large ellipse that delineated the edge of the clouds and the sky. I began carving into other areas, repeating the shape I first created. Well, that did move the work towards abstraction, but did it violate the spirit that I was searching for? I decided to call it a day and went home full of frustration – pledging not to take on a commission that required a point of reference ever again.

Day 3

I awoke before dawn, for this was the time of the Fast for Baha’is, after prayers and reading about the meaning of the disconnected letters of the Quran, I decided to be inspired by looking at the abstract painting of my contemporaries. This would move me away from obsession with the reference, which was not working out and might lead me in a more abstract direction. I decided to not refer to the photo too much and work from memory with the images from Pinterest still in my head.

Things went better. However, I needed to simplify, so I scraped away the smaller shapes created on the previous day. This provided me with a square space that took on the element of reflection of light on still water. No mater how hard I tried I kept referring to the photo. I feared that if I moved to far away from the atmosphere in the picture, I would disappoint Bob. Furthermore, compositionally I have drifted far from the sketch that I supplied. Nevertheless, I forced myself to resist the tendency to realistically copy the photo – just paint! I made progress. I decided to take the painting home and view it in a different environment. This is a practice that is very helpful and has a variety of benefits. First, it lifts my spirits for the lighting in my bedroom makes every painting look better. And Second, I can better reflect upon it due to the nature of the environment. Solutions to problems always surface from this practice. After I hung the unfinished painting at home, I referred back to the photo. I noticed that the composition of clouds were different in the photo. I decided to replicate this relationship in the painting.

Day 4

I awoke realizing what need to be done with the “clouds”. Now this action is antithetical to the process of painting without external reference that I committed to the day before. Normally, I would sketch out a few ideas before heading to the studio. But today I started to write about the issues and concepts surrounding this commission (journal therapy!). I began by trying to explain the seemly conflicting feelings I have been experiencing. Here are some of the thoughts I recorded:

Fear. I am always concerned with making the client happy. And, if there is one thing I know is that most people have the tendency to identify shapes, color and line as known objects or scenes. They can’t help it. How much more when you have a photo that you know was used as reference. The certainty of this phenomenon had an overpowering influence on the painting process. I felt obligated to provide touch points for the viewer, retain the spirit of the image and at the same time create a new experience that possesses a higher level of significance. I am thinking that this might be an impossible task.

Solution. Continue to write, postpone painting. Writing requires focused thought. It is meditative. It releases ideas. It allows for discovery. It confirms action. I now know why Vincent van Gogh wrote so much. Writing facilitates the articulation of meaning and that’s what I need to progress to the next stage of the painting. I need to paint from a point of meaning rather than replication or impression. I will use the atmosphere of the photo, and even some compositional elements, but I need to paint them paradoxically as form and feeling and substance and spirit, as symbols with meanings. It won’t matter if it looks like the photo, but in my heart I know too much abstraction might bewilder the viewer familiar with the reference. Again, paradox and conflict! It has chained my hand from adding personal elements foreign to the photo.

To achieve a new frame of mind, I need to view the natural elements as symbols. Literalness is the enemy of wisdom – and also of abstraction. The clouds in the reference are not billowing water vapor filtering warm light but a sign or attribute of the Creator or of man’s folly. They are a symbol of detachment and source of life giving waters and conversely they symbolize ignorance and imitation that blocks and obscures the light of the Sun. The top 2/3 of the painting is a cloud symbol. It meets the earth at the horizon. I will attempt to honor that natural relationship. It may be the part of the painting that parallels the reference source. However, I now have decided to not with hold the painting of the glyphs of imagination that find their way into my work.

Think Deeper. One special quality of the reference is that it contains all the elements of what the ancient’s believed made up reality – Air (wind), Earth, Light (fire), and Water. These elements embrace in the reference photo – the unconscious reason why it uplifts our spirit. Each element can metaphorically be seen as divine symbols representing mystical stages of creation and therefore possesses the potential for deeper meaning and instill a sense of ecstasy. Once again I will attempt to paint these elements conceptually but not realistically as they appear in the photo.

See No Dichotomies. I need to appreciate the photo instead of viewing it as an adversary. Think unity. This led to the notion that the reference photo itself represents the concept of the relativity of reality. The photo created a “reality” by stopping time. The reality of the scene was different before the shutter snapped and it was different afterwards. In fact, in a matter of a few hours what was a once a beautiful scene would be a darkened space where shapes and reflections are only dimly discernible. These thoughts reminded me of an answer to a question, “to see requires illumination”. And, as the illumination changes so does reality. So I’m not just painting a scene, I am painting a moment. A moment that will never be repeated, and one needed to be present in order to truly experience it. This was not my moment it was someone else’s. And, I can’t replicate that, but I can provide a metaphor for that experience. I will try to elevate the work beyond the pleasure of scenic observation and create a new landscape of the heart.

It’s nearly 11:00 am – I must get to the studio.

Driving the studio I realized that I left my ipad, containing the reference, behind. I took my absent mindedness as a hopeful sign. With my new frame of mind I don’t need reference. Today, I will paint from an internal source. The first thing I needed to do was to rethink the large ellipse that I hastily carved the day before. Janice, my wife, responded negatively to it and I try to listen to her comments. This is another reason for bring the painting home in its early stages. Consultation in all things is beneficial; even in what is believed to be a solitary activity.

I began smoothing out what I had carved the day before and added a line of “clouds” near the horizon that was missing. In the process of working on the area of the ellipse, I felt that it needed to be brighter. I reached for Alizarin Orange, an oil paint that Williamsburg makes. It has the capacity to stain encaustics and when diluted it turns into an unusual bright yellow hue. I use oil paint to color the spaces between the highly built up encaustic paint – this allows the eye to mix the two colors. I brushed on the Alizarin Orange not realizing that the paint had not sufficiently hardened from my previous adjustment, which required a heavy fusing (heat after applying paint). The force of the brush smeared the beautiful little beads of paint created the day before. And once they are gone, they can never be recreated. After an inaudible curse, I carved a ring around the smear. Perfect! That’s what that space needed. The accident opened the door to adding my gestures and shapes that had no connection to the reference but added personality and mystery. I added a mound of paint where a space was, carved another shape and colored it a shade of red violet. I was on my way!

Janice was right, the sky was more cohesive with the carving (line) eliminated. The sky was still too active and variegated. I decided to add more gray to smooth it out. However, I had completely run out of Midtone Gray, which I was using as a base color. Midtone Gray is not just black and white mixed together. It is made up of the three primary colors plus white, so it takes on a complementary reflection when placed next to different colors. For example, it can look yellowish next to purples or bluish next to orange. I had to create my own gray or run to the store. I made my own and worked on the “sky”. Without the reference, it took on a darker tone. I am concerned that the brightness of the sky in the photo may have been lost. Maybe it doesn’t matter –we’ll see.

The painting needed more complexity in the square at the center of the bottom portion of the painting (the reflection area). It is a smooth area that had been carved away and scraped to reveal the layers of color like weathered antique fisherman’s buoys. It needed more excitement, like a controlled explosion. I masked off the area to prevent over spray and repeatedly whacked a brush loaded with orange paint against my adjustable wrench (that I use to pick up hot tins and loosen stuck oil caps) – this action splattered little droplets up from the bottom of the painting. When fused, they grew in size and I had to scrape many of them away. A thick line of light blue was added and then scraped away, revealing a few bands of the orange underneath – this produced a wonderful vibration.

The last thing I did was to add additional ladder forms. Now the bottom right shape change into a more pleasing proportion. Tomorrow, I will decide what to do with the squares that I carved into the edge. I am thinking that the “sky” may need lightening and more mysterious forms added to it (maybe more ellipses?).

Day 5

Saturday. Didn’t go to the studio. Stopped by Rochester Art Supply to pick up a few ounces of Midtone Gray after teaching my children’s class. Turns out they close at 3pm, missed it by an hour. At home, I perused the work of Sammy Peters for inspiration. I had just discovered him on Pinterest and pinned a few of his exhibition photos on my “artists that inspire” board. I began sketching more thumbnails of the painting. It amazes me how these tiny pen sketches can be so useful. A few lines can be loaded with meaning and intent, and act as the impetus for the next idea and action. I began sketching the painting at its current stage of development. I drew a square representing the painting, the horizon line 2/3rds down and three squares across the bottom and filled them in with gestures indicating proposed activity. I realized that I had unconsciously painted the 4 elements and partitioned them into rectangular shapes: Air at the top; across the bottom (left to right) water, light (the center square I previously called “reflection”), and earth. This recognition seemed to be a confirmation of my earlier thought process about the symbols. I was convinced that this insight would significantly effect the direction of the painting. Each of the 4 areas now has their own theme. The trick will be to unify them.

It’s 11:09 pm. Can’t stop thinking about the painting. Looking through some of the pins of abstract paintings I have made on Pinterest. I notice reoccurring shapes. It suddenly dawned on me that rarely squares and rectangles are found in nature. However, they somehow end up in the majority of abstract paintings – including my own. And, they will definitely find their way into this commission. What does this geometry engender?

Day 6

I began the day hopeful that the inertia of literalness had been lifted by the insights of yesterday. I’m thinking that the boat shapes I’ve painted in the “water” section are too literal but at the same time I am attached to the “ark” shape as a symbol. Again, conflict and choice.

As it turned out, I didn’t get to the studio today. My daughter Nicole’s going away party took all my attention (she’s going to Haifa for 2 ½ years to serve at the Baha’i World Centre). I decided to ask Bob (the patron) if he would like to read what I have written so far. He was on his way to Japan but enthusiastically agreed. I sent him everything written above in its rough form (no photo).

Day 7

Slow start to the day, needed to help Nicole get ready for her relocation. I am still thinking about how to paint the boats. While running errands with my wife, we stopped at the studio. She asked if the painting was done. I replied quickly, “No.” I told her what I planned to do to the water area and she suggested that I don’t change the water or the boats. It seems that my desire to move to the abstract end of the spectrum was not shared. This discussion made me reflect that my process of intellectually imparting meanings and symbolism to my work may make it unapproachable. For now, I will not add stripes to the water area as I intended and the boats will stay afloat.

I was showing Jan (my wife) how the painting changes dramatically based on the illumination source. I paint under overhead lights (Solux bulbs, closest to daylight). The heavy build-up of encaustic paint reacts to the overhead light in two important ways. It catches light on the smooth raised areas and reflects it as bright spectral highlights. This adds lightness to the surface and unifies it at the same time. The other effect is that the texture casts deep shadows. This has the effect of adding contrast. Consequently, the colors take on a greater level of intensity. The preferred way to view my work is with it lit from above.

I then turned off the overhead spots and we viewed the work in daylight. The painting dramatically changed. The sky blue ground now became visible and lighter, for it was no longer obscured by shadow; some of the clouds darkened (the highlights disappeared), others softened; and the overall impression became naturally flatter. Now, this isn’t bad, just different. Actually, I really like the idea that the reality of the painting changes with the illumination.

I got back to the studio around 4:30 for a few hours of painting. I made a few enhancements to the “earth” section – basically smoothing (by scraping) a square of texture. This adds drama and contrast. Then I added a stroke of dark pink over flatten green (drip included). Now this color has nothing to do with the “earth” section, but everything to do with the total work. It is an act that cannot be understood in the context of the reference or any figurative orientation. It’s genesis is in the realm of abstraction and operates purely as color and form against a textured green field. In the context of the painting it might be viewed as a visual virus attacking the vegetation of the landscape or conversely, a disruption switch that reorients the viewer’s thoughts and emotions away from a process of identification. More likely, it represents something unknowable and I am foolish to try to analyze it.

I believe the painting may be close to completion. I stripped off the masking tape and carved and fused the paint hanging over the edges flush with the sides. This avoids the tendency for a section of the paint to chip off if handled incorrectly. I am still conflicted about the “air” section only because the reference was warmer and lighter. I am satisfied that an emotional and intellectual connection can be made between the painting and the inspiration source. Or, at least there is in my mind, but I have be intensely intimate with this relationship for a long time. In the final analysis, the work must stand on it’s own. Like an individual – one would be ill advised to compare one’s self to others in order to determine your reality or worth.

Day 8

Busy helping my daughter today. However, after dinner I stopped by the studio and brought the painting home for further reflection and meditation. I hung it under the overhead spotlight. The painting looks so good under this light. Each bead of paint is accentuated so the surface takes on a life of its own. I decided to add a smooth dark green square on the left edge to subtly provide an added measure of balance. The sky is fine and doesn’t require warming.

Day 9

Exhausted after getting Nicole off to Haifa. Another day, living with the painting. Nicole made a few helpful comments before she left. After about 20 minutes of staring at the painting, I felt that the “sky” area was too figurative even though the color had migrated towards violet shades. It needed more of my mysterious shapes so that the viewer wouldn’t make a sky association so readily. This would allow someone to approach the work with a more abstract orientation. We’ll see what happens after I apply this thinking.

Day 10

I made the additions that were conceived the day before. I ended up repainting the “sky.” I just could leave it alone, even though it was beautiful. It was an active sky full of color. I decided to warm up the blue under-painting and add warm grey. I am being controlled by the reference. After about an hour of work, the results didn’t feel right. I began scrapping it off. I must have taken 2 ounces of paint off. This action produced a more level area. However, in the process of scrapping I pulled some spots away from the board indicating that I have an minor adhesion problem, probably caused by the light oil wash or the first layer not heated sufficiently. Tomorrow I plan to add a overall color, making the top portion of the work more of a field, this will simplify the overall painting. It will also permit rapid brush strokes that will add energy.

Day 11

I repainted to top 2/3rds of the painting closer to the color of the reference. However, I did not refer to it all day. These efforts weren’t working. I ended up going back to the original grays and violets but this time I felt the need for contrast so I went darker and introduced patches of dark blue. The “sky” area is still busy but more interesting. It is a great departure from the reference. Undaunted, I began adding mysterious small colored shapes then bold brush stroke of opposite colors. It is beginning to feel like an abstract painting despite my unfounded attachment to providing visual clues, obscure as they may be, to the reference. I brought the painting home for more reflection. I already have some ideas. I am thinking that it might be a good idea never to compare the painting to the photo.

Day 12

I put my hand into my coat pocket and discovered a paint sample that Mike gave me to try while I was buying paint at Rochester Art Supply the day before. Mike owns Enkaustikos Paints and he is always innovating. The sample is called Warm Pearl – a metallic white that has a shimmering luster to it. I am thinking that a bold brush stroke of white in the “Light” section would align with yesterday’s thinking.

The painting took on a bolder more colorful feel today. I don’t always listen to music when painting but today I replayed a J.S.Bach Violin Concertos CD and then some jazz standards. I add stronger violets to the sky area, carved more shapes, and lightened areas with a warm gray. The Warm Pearl didn’t work out the way I envisioned. Instead it evolved into a dramatic yellow green over blue brush stroke. One great feature of encaustic paint is that if you don’t like what you have done you can paint over it in a few seconds. Many of the colors are opaque and only one stroke is required. The Warm Pearl brushstroke made the blue then yellow green possible. I couldn’t have envisioned or achieved the final color without making the effort. I think most painters have learned that we need to be in action to receive the bestowal of confirmation.

Early on I painted two identical boat shapes in the “water” section. Today, I turned one of the boat shapes into a rectangle (a raft, if need be) and increased its color intensity with a stroke of bright yellow orange. This action was predicated by a carved a semicircular shape I just made. I didn’t want the twin shapes to possibly be interrupted as eyes.

Day 13

Couldn’t spend too much time painting today. I added touches of warmth to a few under-painted spots of light blue. The light blue only becomes visible in daylight and it disappears with overhead illumination. At times, I think I am painting two paintings at once.

The power to the studio was turned off this morning due to a downed electrical wire (ice damage). Without electricity I cannot melt the paint – oil or acrylic painters never face this problem.

Day 14

No painting today. This morning, I was reading an article that originally appeared in ArtNews back in February 1950. It was about abstract artist Hans Hofmann, one of my heroes during my school days. He is also celebrated for his commitment to art instruction. In the article, I noticed a common theme – many of the abstract painters of his era were always on the guard against intellectualism and virtuosity. Hofmann says, “At the time of making a picture, I want not to know what I am doing; a picture should be made with feeling, not with knowing. The possibilities of the medium must be sensed…”

Well, what does he mean? What kind of thoughts and techniques are antithetical to his painting process? I believe we cannot really separate thought and feeling, they are part of a continuum. However, most people see them as opposites and separate. So what is being expressed? Are we talking about preconceived thoughts or ideas that originate from a “knowing” modality rather than a “learning” one? If so, then I agree. Is he saying: the painter must embrace the unknown and sense the direction by feeling the paint. If so, then I agree. However, I do not think he is talking about thinking deeply about history, symbolism and reality as “intellectualism.” But if he is, then I strongly disagree.

What does this have to do with the commission? I ask myself a question based on Hofmann’s advice: have I inserted a “knowing” element into my painting process? And if so, is that the reason for feeling conflicted at times? Why have I struggled with the “sky?” Because I know what it looks like in a photo! And, so does the client. This awareness has created a tension from day one. It has taken over a week to burn away that blockage. It turns out that I have traveled from the known to the unknown – transported by sensing the color, form and texture of the medium (just like Hans instructed).

"Crows Pond", Encaustic/Oil on 30"x30" Cradled Panel

Day 15

Finished, on April Fools Day, 2015! I spent a half a day making adjustments in the sky, adding details, painting out bright orange stroke that I previously liked, then adding a strong red spot in the top left. Time to bring it home.

My wife approved. I feel good about the work. It will hang on the wall for a while just to make sure I have done everything I could to make it right. However, I can tweek a painting forever if I allow myself, so I’ll try to resist the temptation. The painting will be named after the point of inspiration: “Crows Pond.”

This painting would have never came into existence without the provided image. I don't think I would have been motivated to record the daily activity if it wasn't a commission. I hope everyone likes the result.

Substance and Spirit

Wednesday, April 15, 2015

New Work: Salt and Pepper

Friday, April 3, 2015

Anatomy of a Commission