Below are images of a work shown in progress through to completion, of the Porcelain Dining Room in the Chateau de Versailles. It’s a commission I’ve enjoyed making for a private home near Toronto. The wide panoramic format was pieced together from individual photographs I took from a trip in France a number of years ago. I remember going through the chateau twice, the second pass offered a satisfying, golden afternoon light. The composition reminds me of the forced perspective one observes on the virtual tours of museum websites.
Blocking in always begins with big brushes, to locate everything and establish colour family and main values. The next step in the painting is to use smaller brushes and go in for specifics of detail, sharpening edges and creating stronger focal points. I want the viewer to feel immersed in the space, with lots to encourage the eye to keep meandering, discovering new subtleties and maybe even surprises. It’s important to me that a painting unfold for the viewer slowly, to withstand the test of time.
In the final session something happened that wasn’t planned. Here’s the finished piece with its new title, Mantlepiece with Talking Objects (Versailles).
Working with the warm colors of the parquet flooring, gilding, and marble, really helped energize the gray days of winter.
Please join me for the Eastside Culture Crawl, Vancouver’s annual visual arts festival! I will have some new work and works in progress––drop by my studio at #322b-1000 Parker Street and say hello.
There will be so much art and craft to see, by talented local artists and artisans, opening their studios all over the Eastside neighbourhood. Please visit the Crawl website for maps, previews of artist work, and special events. See you there!
In my September 2012 post on my “In the Studio” page, I bemoaned my boredom with photography as a source for my paintings. Well since then things have changed quite a bit. While photography has limitations, I am once again finding it very freeing, in different ways from working from life. The paintings that “just happen” very quickly are ones that I sometimes prize; but there are also the larger works that emerge slowly, and are an accumulation of “hits” and “misses” that are moves toward the final goal of an image that registers for me something that I hope to call Painting.
The layering of glazes can subtly alter the surface and create nuances of painterly depth that a “premier coup” painting might not. Each approach is just different, neither better nor worse than the other.
There’s also what technology can bring to the process–I’m fairly sure if Velaszquez or Vermeer were here today they would most likely be taking advantage of today’s photography post-production software in conjunction with their painting.
Along with working from reproductions of reality printed on paper or found on my computer screen, I also have been really benefiting from some life drawing and painting in the past while. It’s feeling good to do it all–– it just makes the work richer and I think more informed.
Today we needn’t be And/Or but can easily say yes to Both.
“Voyages en Zigzag” is the working title to my next show, which will be in November 2009 at the Bau-Xi Gallery in Toronto. This time, instead of working from photographs from my travels, I will stay at home (this is the era of a new restraint, n’est-ce pas?) and collect jpegs from friends and acquaintances in my computer’s Inbox. It’s exciting to see a big download coming through the internet line, a good indication that some new, delicious images from someone’s holidays are about to land.
Just received some nice photos from my pals Amanda Forbis and Wendy Tilby, (shameless name-dropping) who have become quite the jet-setters with animation festivals and such. I also have been fortunate to get permission to use the photos of a quantum physicist who posted his delicious images of Russian palaces on Flickr. I love the notion of a guy who deals in particle theory sending me pixels of objects through the World Wide Web, and then me translating them into paint.