Kamikazbees is the result of a thought I had while on the throne of seclusion. I was thinking of World War II, as I am usually found doing, then thought of bees coming in for a landing on a flower. I made the sunflower look like the Rising Sun flag (of the Japanese Empire). As I was painting, I thought of the title that would fit the action.
The painting itself is a little jejune, and so I may take a break from painting, so I can recharge my creative battery. It’s a sunflower, with bees beginning to land. I actually learned quite about bees during the research. The legs, antennae, and even the wings are a result of that intellectual dive.
The vitals: 16×20, acrylic on canvas. There’s some texture there, but the photo doesn’t show it. May 2017.
Close up of Winter’s Odium, Looking Head-onI’m being told that, as an artist, I need to explain my work and process more. This bit of advice comes from a source that I came across when trying to figure out how to break into the big leagues of the art world – besides spending tens of thousands on a BFA/MFA which will get me connections. I’ve never liked networking, which explains job-hunting difficulties in the past. Plus, a degree in the arts isn’t my cup of tea. I’d rather draw exclusively on the creativity inside and discover things on my own – like the measurements involved in the human face, or the structure of leaves.
Winter’s OdiumBut I digress. About my latest work, at first glance, it looks like a kid had a tantrum while holding paint. Yet there is a lot more going on in the work than initially presents itself.
Like an onion, but not an ogre, this painting has layers. The overall theme of the work is the transition from winter to spring.
Initially, the painting was inspired by a cherry tree I saw when coming off the escalator at Federal Center SW, in DC. It was way too early, and the tree’s blossoms were interacting with a nearby streetlight in an awesome way. Yes, it’s the little things in life.
Winter’s Odium, Side Angle, Close UpMy idea was to paint the tree / light combo as if I were a passenger in a car speeding by. I’m still going to do another work based on this idea, but for this one, a shiny object was thrown in my way early in the process.
If you know me, I have a morbid side. I’ll wait for the eye rolls and statements of strenuous affirmation to stop…. Okay, I love crime shows (‘Dexter’ anyone?, ‘Forensic Files’?) and horror movies.
How It Looks on a Wall, Left AngleSo I was watching ‘Midnight Meat Train’, a slasher flick that made its way back onto Netflix after years of being absent. The movie is about a butcher harvesting humans on late night trains in NYC for a group of primordial monsters.
What does this have to do with the painting? I’m getting there 🙂 There is this part in the movie where this girl is being dragged along the bloody floor of the train. A thought occurred to me, so I paused the movie. I looked at the scene, and then looked at my painting. I cocked my head sideways, and then rotated the painting 90 degrees. I had it! I would paint the death of winter in the colors of spring.
How It Looks on a Wall, Right AngleThere’s another part of the movie that talks about art, which resonated with me, but I don’t want to stray off topic too much. So this girl is being dragged along the bloody floor, I thought to myself that it looks like winter being dragged off by spring. The hands were the trees, while the floor was time. You can see the result under the layers of color; look for the red and bone colors.
The next day, as my depression was at a momentary winter of its discontent, I thought maybe I should brighten up the scene, turn it to spring – but in an abstract sense. I broke out the colors, et voila. Greens and pinks symbolize the blooming of spring.
Head-on Shot with Overhead LightOver the succeeding days, I added light; which I’m infatuated with. You can see the sunlight reflected in the yellows and the flashes of white. The white was inspired by what happens when you’re riding (hopefully not driving) in a car with your eyes closed and the Sun is flashing through the trees.
So that is it in a nutshell. I really don’t pre-plan my work – beyond thinking about how something should go in my head. Once the paint starts flying, as in this case literally all over the room (security deposit revoked), I go where my instincts tell me to go.
Winter’s Odium, March 2017, 18″ x 24″. Acrylic on canvas. The variety of angles shows how it could look on your wall. For Sale, $600 (I need to make up that security deposit).
Let’s entertain for a moment that someday, I will paint well enough to earn a spot in the Met; even if it’s in the restrooms. When curators look at my body of work, they will see that my realism paintings tend to be utilitarian and dark. They will dissect my state of mind during the creation of the painting and find things with which to create parallels.
Take ‘Moving On’, my latest, as an example. They’ll say there’s a certain eerie loneliness about it. References and connections will be made to social issues and mental illness. They’ll wonder why I’ve painted Vermeer’s ‘Woman Holding a Balance’ as the only thing hanging on the wall, really the only detailed object. The relative emptiness of the rest of the scene stands in stark contrast to the focused area.
If I had to make up a backstory as to the inspiration, I’d say the painting is about ending one journey and beginning another. In this case, the woman is moving out; from a failed relationship, or something else – it’s all in the viewer’s mind.
There is irony in the fact I stopped work on it today, March 11, 2017, which would have been the two year anniversary of my last relationship – A wonderful woman, she dodged a bullet. I wish her the best.
But the painting is not really about any of this. Realism is boring, tedious work. I like rapid, flowing strokes and not contained or restrained lines. I want the brush to dance on the canvas, which is why I got bored and decided to go back to abstract acrylics.
If you ever look at a human eye up close, it’s one of the most beautiful natural creations. I was thinking of this when I started this project. At the same time, I wanted to create the impression of what one would see looking up at the moon. The moon here represents the reflection of natural light in the eyes, where the forest is the myriad of colors that make up the rest. It’s also a reflection on life, eternity, and the wonder of natural things.
Mixed Media (really because of the pumice I used to make the moon (it’s somewhat 3-D) on canvas, 11 x 14, and already sold.
I suppose I should talk a little bit about my process. Every artist goes about her or his projects in a different way. Most will sketch whatever comes to mind and come back to it later. For me, I don’t use sketch books. My ideas usually hit me either when I’m out getting some exercise … Read more
