Set a few years, if not a decade or two, after the filming of Breakfast at Tiffany’s, an odly familiar figure returns in disguise to the scene of filming. Although she hated pastries, it seemed fitting at the time to enjoy one.
I haven’t signed it yet as I may or may not attempt to correct the glaring errors I see.
I went ahead and signed this one because I don’t know when, if ever, I’ll get back to it. It’s a nature piece, dealing with the mystical forces surrounding the entity that is Mother Nature, both from a pagan and artistic perspective. She’s never really portrayed as a creature one wants to be around; rather, people would rather just appreciate her children. This is why she is depicted as serious, even of stern visage, in my portrayal of her.
Once again, the vision in my minds-eye did not match what came from my hand, so I will have to keep trying. The exercise in the piece was lighting from multiple sources, the plant, emanating the energy of its birth, the right, and from above, representing the night. One can see faint traces of it in the downward strokes of the background.
Vitals: 18 x 24 acrylic on canvas.
Comments are welcome, more so if they go beyond “this is total rubbish”.
I originally was going to use this as a background for a Halloween painting. Halloween has come and gone, and so I decided to let it stand on its own. Most people don’t appreciate the woods, but every time I’m in nature, I feel that connection between man and the environment. So, while the painting may be boring in a media-filled, sound-byte ridden world, I think there’s a certain peace to it.
New techniques to be found in this? Linear painting, maybe? I’m mostly practicing things I’ve developed in the past. The hardest part of art , in my opinion, is getting light right in the woods, as there are so many contrasting areas of light and dark colors. Throw in streaming sunlight and one is tempted to cast aside the brush and bow to nature’s perfection. This is an imperfect representation of that beauty.
18 x 24, acrylic on canvas. Part of the closet series.
A cold winter evening, somewhere in the city. On the roof of a nondescript tenement, a life is about to end… or is it about to begin?
Every artist does a religious painting at some point (at least the ones I follow), so here is my contribution to that lexicon of beauty.
I’ve completed another painting. I’m experimenting with fog / mist. It’s a process. I didn’t do so well on this one; hence ‘Castle S’. I’m going to call it a practice piece for the next work, in which this will be the background for the action in that scene. This is 16 x 20, acrylic and spray paint on canvas. If you’re interested, I’ll let it go for $100.
Sometimes you take risks. Sometimes it works out. Sometimes it does not. This is one of those ‘do not’ times. Yet it is mine, and I claim all of my failures.
The scene: The King has died. On a cold, snowy morning, the Queen readies herself to go to Valhalla with the love of her life. The people mournfully prepare their regent for her departure in the depths of the early morning fog.
Acrylic on canvas. 18 x 24. 2016.
‘Gathering of Souls’: People once believed that when someone dies in battle, a raven flies at dusk to carry their soul to the land of the dead.
This is a rescue painting. Originally it was going to be a geometric design based on the Old Futhark rune for prosperity, which looks like an angular version of those ‘support x’ magnets you see on the back of cars. It would have been entitled “The Tree of Othala”, which is the name of the rune.
Unfortunately, I’m not Cezanne and kind of messed up; so I went in another direction.
I can do better but I wanted to show that not everything we do as artists is that great. Still, I’m curious as to thoughts on it?
Nestled in the hills overlooking the sleepy valley, the Sandmen of Castle Dream-guard keep watch on the distance. For in the far-off mists the armies of the nightmare realm gather for their nefarious purposes.
The castle is modeled on my favorite, Lichtenstein Castle.
Spray Paint and Acrylic on Canvas, 18 x 24. Unframed. Available for purchase here.
“Harvest Knights” Acrylic and Spray Paint on Canvas, 18 x 24. Deep in the night, under the blood moon a pair of knights rush along a deserted road, past ruins of long forgotten folk towards an urgent engagement. At least that’s the idea. The skills never match the concept.
Deep in the night as the vernal equinox reaches its apex; while the moon blankets the land in cold light; the sleeping children of Nature stir. The trees begin the dance of awakening, twisting and undulating in reverent celebration. Their movement coaxes the Earth Mother to coalescence; like the creation of a galaxy, swirling, spinning, concentrating the forces of life against those of decay. The first buds begin to bloom, a supernova of light their birth cry – Spring has arrived.
That was the thought. I’m fascinated with the pagan past of humanity, wrapped in rich mysticism which is completely the opposite of the modern fascination with the cold facts of science. This interest is reflected in this painting.
P.S. There are no people in the painting.
The painting itself is a mix of spray paint and acrylic brushwork. It is flawed, at least I see the big flaw, but until I figure out how to fix it without destroying the composition, I guess its finished. The dimensions are 18 x 24. It’s for sale at $200 plus shipping (should be about $20, I’ll pick up anything above that).
This one comes straight from depression. I call it ‘The Murder’, if you know your object quantifiers, you’ll figure it out. It’s a combination #spray #paint and #acrylic brushwork on #canvas. It’s also part of my #light series. I think I’ll probably go back and do some touch-ups. The camera didn’t catch the depth of color; I regret that.
I would have gone with, ‘Crows Observe the Dawn’, but it didn’t have that echo to it. I was painting through a period of things not going my way. Music during the painting process was #Faun – particularly the song “Ero Escuro.”
