For an oil painter, I’ve been doing a good deal in acrylic lately. It’s not entirely new. Acrylic paint and I have been friends for a long time. It’s partly to be able to create works on paper and make them available for less cost than works on canvas. Like about a third less! The fact is, it’s good paint. And, depending on many things, it’s often hard to tell the difference between an acrylic and an oil painting. It just goes down differently, requires a different technique, and allows some effects that can’t be achieved in oils. These and more will be featured at our show at the house coming up. Click here for info and invitation.

Sunset Flight 1 thru 8, acrylic on paper

Here’s a painting that no longer exists, at least not quite like this. It was painted on one big piece of heavy paper but afterward I wondered how it could be better. And, as destruction is often part of the creative process, the painting went under the knife. With a bit of careful measuring and cutting, the mother painting gave birth to eight children. Of course, the mother no longer exists. One could, however, purchase them all and put them back together.  Or any set of twins, or triplets. Then again, octuplets have been in vogue of late.

Sunset Flight 4, acrylic on paper, 11.25×10

I was in a yellow phase when I painted all these pieces. Picasso’s blue period lasted a number of years; my yellow period was more like weeks. Not that I won’t return; it’s a great color. When Vincent Van Gogh wrote to his brother Theo to send more paint he added, “Especially yellow.”

Sunset Flight 5, acrylic on paper, 11.25×10

There’s a lot of abstraction in these pieces, a simplifying of form, an abbreviation to the most essential elements. That’s basically what abstraction is (consider the abstract of a scientific paper). Such can make for most pleasing designs. Take Marooned 3, below, one of four in the series, each slightly different, each luscious in texture and color and layers of paint.

Marooned 3, acrylic on paper, 26×20

You’ll have to overlook the areas of “glare” in these representations. It’s hard to avoid in the photographic process, what with the natural sheen in the paint medium. In person such glistening is a pleasing addition and changes as you move.

Yellow Sky, acrylic on paper, 22.5×30

In almost every case the paintings are named after they’re done. That can be most challenging when it comes to abstract pieces. I wasn’t necessarily thinking “yellow sky” when I was painting the one above. It could have just as well been something like “I wonder what a glob of this will do.” I’m hesitant to influence viewers away from their own interpretation when they might be happier with something else, like “Grand Canyon Close Up,” or “First Day of Creation,” or “Who Spilled the Yellow?”

Yellow Ground, oil on paper, 22.5×30

Though most pieces in this blog are acrylic on paper, this one was done in oil paint on paper. Oil just has a different flow, operates differently, dries slow and, of course, isn’t meant for paper. But there are things you can do to make the paper archival. And even if you don’t, as I’ve learned lately, such works do stand the test of time. Works of oil on paper have been discovered from Renaissance days.

Sunflower Field, acrylic on paper, 22.5×60

While I was at these abstractions of landscapes and sunsets and the like, I thought I might as well interject something recognizable. Thus, the Sunflower Field above.  The reproduction here doesn’t do the piece justice as the impression itself comes from it’s sheer size. At five feet wide it would be great over a couch. It’s big enough to transform whatever room it’s in. And take you right outside.

Sunflowers 1 and Sunflowers 2, acrylic on paper, 15×11 (each)

Since I’ve been painting more in series lately, one wide sunflower field begged for a pair of smaller pieces. These are two separate paintings, and each works well alone. But there’s something appealing about a set, no? Flowers do come in bunches.

Folclórico Duo, acrylic on paper, 18.5×26.5

Lest we leave the world of life’s true flowers, here’s one more, again done in acrylic on paper. Everything’s blurry for the movement, like a breeze blowing through the leaves of their souls. It’s the kind of painting I’ll probably do more of when I get older, when the vision grows dim and the hands tremble. Hopefully, that’s a long time from now. For now it’s intentional. Maybe by then no one will notice the difference.

Summer Show at the House

It’s a first, having a show at the house in the summer.
Come and enjoy the light and the air, as well as all the new works,
including all these works on paper, and a whole lot of oils.

August 15-16
Saturday, 4:00-9:00
Sunday, 1:00-5:00

33752 Big Sur
Dana Point, California 92629

Festival of the Arts

Booth A-14, Anne continues to show her work, along with many other good artists

Through August 31, 2009
10:00 a.m. – 11:30 p.m

650 Laguna Canyon Road
Laguna Beach, California

Lecture: How to Start a Painting

By Hyatt Moore
Friday, August 21
6:00 – 7:30 p.m.
at San Clemente Art Supply
Limited to 24. Call 949-369-6603 to reserve a place.

Workshop: Loosen Up

September 12-13
also at San Clemente Art Supply.
Call early for reservation.
Click here for details.