Still Point: Rebirthing

(No longer in inventory)

3'x3' mixed media and acrylic on canvas

Still Point: Generating

3'x3' mixed media and acrylic on canvas

Still Point: Unhinging

3'x3' mixed media and acrylic on canvas

Still Point: Transhumanizing

(no longer in inventory)

3'x3' textured mixed media and acrylic on canvas

This time I really mean it: Finished Gestating (was the pun intended?)

Still Point: Gestating 36"x36" (no longer in inventory)

It was quite the process, and it took some time once Peggy Zehring pointed out to me that I need to turn the orientation, but I love it now. I just had to darken down below the circles and raise the burn a little into the white. But I love how this is working now. As always, I bow to my teacher/mentor and give thanks for having recognized her when I saw her.

Still Reworking--Still Point:Gestating

So here it is again, after gold-gessoing out the bottom right and upper left and putting in the colors of oil slicks and peacock feathers. Still not finished, though. But my balance problem of leaning to the right is mostly resolved. I hear that the lower left quadrant is not quite working, and frankly, it was troubling me, so I'm relieved that's confirmed. I think I need red there. And I have yet to be successful in completing the top of the gold that runs over the two circles in the middle space. I've painted and repainted that area. The painting is still trying to tell me what goes there. 

Reworked Version Still Point: Gestating

I'm still reworking this painting but feel pretty close to finished. I resolved the split personality that happened when I added green after I'd been working the copper/violet. I think I need to come in with a little more gold in the space above the three circles. But after the red was added, I could feel myself smiling--a smile that started in my toes. That's often how I know a painting is finished or very nearly so. 

Now I just need to learn how to use my new/first digital camera along with the cropping tool. There's always some new technology nipping at my heals. It provides such a challenge.

Abstract Composition Upside Right (Still Point~Trichotomizing)

I thought it went like this:

(no longer in inventory)

But Peggy Zehring, my teacher, showed me how and why it was a better composition when rotated 180 degrees. The way I was seeing, the viewer could not get down to the lower half of the painting. The attention was drawn to the gold circle in the top half. I still need and value her instruction. I've gotten so many more positive comments on this piece now that it hangs this way.

Still Point~Trichotomizing 36"x36" (no longer in inventory)

Still Point: Gestating

This painting is undergoing a re-make. The problem with painting a series is that when it is finished, you always have one in the series that's weaker than the others...unless of course, you are really, really accomplished at what you create...something I'm still working on becoming. 

So this was my weakest. I never really liked the way the paint went on. I could never really figure out for sure what was on top where--dark or light. I loved the marks and felt the paint did not do it justice. So I whited it out. Gessoed over all of the textured part of the canvas. Then went over the center, mostly low-lying section (except where the three circles are, that's raised, which part of the what's on top problem) with pearlescent. That was really cool. And made my decision about the light being at the back, dark on top, mostly. Then I had to figure out what to do next. I love gold gesso, so I chose that to go around the center section. 

Now what? Must add color--I kept the surroundground blue. Then I started working with violet mixed with red toned copper. That was cool and very dark and shiny (the moist part, you know). Then, on the lower right quadrant, I put in blue-green. Created an obstacle to overcome. Now my painting was divided by color. So that's what I faced when I entered my studio tonight. I was loving the elements, but not how they were together, had to make the painting more integrated. So I started adding blue-green on top of and around the red-copper-violet. And I was entranced by the close-up effect. I wanted to do that everywhere in the painting but had to stop myself.

The color combinations and effect made me think of peacock feathers and really colorful bruises (I had one that had amazing color that moved from knee to ankle and back for a period of about a month after I fell hard on my knee once) and gorgeous parking lot oil slicks. I love studying oil slicks after a bit of a rain. I know it's not cool when you consider what they really are (same with bruises, right?) but have you really studied the colors and the shapes? They quite often create mandala shapes. And they are blue with green and red-violet and a goldish-brown and dark, dark. Next time I see one, I'm going to drag a stick or something through it to see how it can be manipulated. Come to think of it, once I saw a jellyfish on the beach at Penn Cove that had all of those colors in it. It held my fascination until the tide threatened to take it back into the water. 

All this to say, that when I left my studio tonight, I felt like I was overcoming the obstacle, meeting the challenge. I like that feeling. I won't get back into my studio for a couple of nights, which is a bit of a frustration...don't want to lose momentum. 

Still Point: Descending & Still Point: Ascending

Still Point: Descending

Because hanging upside down, cocooned in the dark was her way to enlightenment.

36"x36"

Mixed media and acrylic on canvas. Includes wooden shaped bits.

Still Point: Ascending

36"x36"

Mixed media and acrylic on canvas. Includes rusted tins.