Revisionist Thinking

Today, I reworked a recent painting (The Possessors of Circles, posted in April) that I completed in February 2015. It took three days and a night to revise. What made me do such a thing? The work was O.K. In fact, I noticed that it was even getting re-pinned from my Pinterest board. It is important to note, this was a revision not a paint over. And, this isn't the first time I went back and altered a finished painting. However, it is rare that I engage in such action. It is my practice to reflect on a work, sometimes for hours, until I am sure it is finished.

Here's what I think happened. I fell in love. I became attached to my technique. I have developed a way of working with encaustic paint that produces large beads and organic shapes of paint. The majority of the surface of this painting was covered with these gems. I usually try to balance this texture with providing smooth areas, creating a tension between the two. The trouble was that I was too successful creating an overall field of amazing surface. And, I could not bring myself to change it. No courage – fear of screwing up a good painting that seemed finished. Maybe it wasn't as good as it could be? I bothered me, but the irritation was only a mild itch, easily dismissed. Until now. I needed the feeling of joy that comes from perseverance and raising a work to its highest level.

Sacrifice was required.

I needed to give up what I previously believed to be valuable for something more valuable. I took out my scraper and began shaving off the rounded tops of the beaded mounds. Major surgery! I must have removed over 3 ounces of paint! About 40% of the surface was now transformed into raised, white, flat topped plateaus that seem to ripple across the surface. Some areas, where I cut deep, became smooth spaces with only a few pits that could be extenuated by infusing color into them.  The addition of an single color (Alizarin Orange), caught in the nooks and crannies, unified and actually enhanced the surface. The shaving process also revealed under-painting and created a surprising marble-like effect in some area.

Emboldened, I began better defining subtle areas, adding detail, and intensifying color. More important, another triangle emerged – creating the twin triangle motif that has characterized many of my older paintings. In a complex painting such a this one, these twin shapes temporarily anchor the viewer's gaze and their symmetry seems to create a calming effect. Adding that triangle was a significant addition! At the last minute, the letters "B" and "E" manifested themselves. These hidden letters almost always find there way into my work.

Here's the revised painting, side by side with the original. It's funny, but these subtle refinements makes me feel like the painting was reborn. However, at first glance, a causal observer might not see any difference at all. I hope you agree that my efforts improved the quality of the work.

Carey Corea "Possessors of Circles" (Revised) Encaustic on Cradled Panel, 30"x30"

Original version. Unfortunately, this photo 

is slightly warmer than the new one, not providing an exact comparison.

However, I hope you can see through that.