Disaster. That about sums up the third of Bert Seabourn’s summer classes for this artist. (not pictured here) Last night was our first foray into abstraction – the kind of abstraction that is done by intuitively placing colour and form around a canvas. Cue the horror film music.
I already suspected I had an issue with intuitive painting, but this experience confirmed that I’m not good at painting without some kind of idea in my head. Sitting down in front of an empty canvas and pushing colour around at random was a similar experience to listening to fingernails run down a chalkboard. I need to start with something. I ended up with a humiliating field of mud spread evenly across my canvas from scraping away multiple unsuccessful attempts. If dung beetles were art collectors, I’d be a star. I was completely psyched out. I left that class in frustration. Trying new things can teach you as much about yourself as about your skills.
It was made all the more difficult to swallow because I did accomplish a style busting portrait of the Warrior (above) for class just the week previous – a real step forward into something very different for me. We were given a small (5″), very pixelated photocopy of an Indian warrior. In spite of the terrible reproduction and a violet colour cast across the entire picture, he was haunting to look at. It turns out the image was of a highly realistic painting by Mark Rohrig. (See the photo of the reference below).
I had no idea of the source most of the time I was working on the Warrior. I just went off in my own direction using the image for the general features and began to do something I never do – break up brush strokes and not blend the shadows on the face. It was very exciting.
I’m not altogether comfortable with using art or photography that is not either my own(best) or in the public domain(ok for photo reference). Unless the new work ends up very different or is educational/non-profit (fair use) like this one, it isn’t a good idea to use copyrighted work. I believe that if you plan to sell that work later, it is best make sure there can be no confusing the reference and the painting. I may be too rigid in my interpretation, but better safe now than sorry later.
Some may say I did a totally different style of work here from the original, but I am not convinced that it is different enough. So, this one will never be for sale, however I did learn a lot from it. I will definitely try again, possibly with a historical image. Bert makes up his own faces. Apparently, so does Mark Rohrig. Perhaps, someday, I’ll be able to do the same, but I imagine that will come only after many, many faces.
Real learning is in trying on everything you can. I’m going to attempt another abstract, of course. In the meantime, I’d love to hear what you think.
do it again, …and again , and yet , again until the mud runs clear and screams eureka!
I plan to do more of both abstraction to try and get one right – and more of the type that is the Warrior. I have a plan! I am pleased with how the Warrior turned out. That was a success at least!
Some people just can’t do intuitive painting, I can’t stand it, need a rough idea for a piece before I can start. Honestly most of that type of paintings I’ve seen i don’t like :/. but to each their own, art is in the eye of the beholder etc 🙂
Worth trying again tho if you really want to see what you can create 🙂
very nice warrior painting 🙂 and now I do try very hard to use my own ref photos if I plan on selling the work, much less hassle when it comes to who owns the image. If its just a piece for me, I will use a photo from a site like paint my photo, but most of the time I try to have my camera with me since you never know what you might see 🙂
I do want to see. If it’s even possible to do intuitive painting for me!
Thanks. I’m pleased with the technique and I want to apply it again. And it IS a good idea to have the camera because it is sometimes what you’re NOT looking for that makes the inspirational cut…
you can probably paint one and paint one well, probably putting to much pressure on yourself 🙂
Very likely! 🙂
I like this Warrior painting. It has depth.
Thanks, Kinsey!
I found your blog somehow and your painting stopped me. Because of a trip west not long ago I started reading books about the pioneers going to Oregon in the mid-1850s. That brought me to read about the Indian Removal. I knew that here in Georgia, the Cherokees had been forced out and I have visited their former capital New Echota (where the Trail of Tears started,) but I was unaware that most other tribes had lost so much of their land too. Growing up in Paris I only knew what I saw in westerns. I have about 6 books to read on this subject and am reading Russell Means autobiography right now. Your painting is exactly what I would think a warrior would feel when pushed away from his land by the Bureau of Indian Affairs. The head proud, but the eyes with, I would better say in my original French “une tristesse infinie.” I don’t know if you planned it this way, but to me this warrior seems so majestic and poignant – and so full of knowledge. It goes well with the sad history I am reading right now – his image will be behind my eyes now – a painting with much emotion.
Thank you so much for your wonderful comment. One thing I try not to talk about is the feeling. That is up to the viewer and I am so touched that you found something so strong in it for you. I sometimes wonder if one can be affected by the memory of the Land. Oklahoma was the end of the Trail of Tears and having lived here for nearly 4 years, I am sure that has reached me on some level to do this kind of work.
I did not know Russell Means wrote an autobiography. I must have a look for it!
I did not realize you live in Oklahoma still, I thought you lived in Canada. The bio of Russell Means is called “Where White Men Fear to Tread.” He wrote it in 1996. He passed away in 2012 unfortunately. I am half way through the book and enjoying it very much. I did get the book through my library – it is 624 pages long and worthwhile reading. Thanks for answering my comment.