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Showing posts from August, 2017

Texture and Obfuscation

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My favourite paintings are the ones that hide parts of themselves, forcing viewers to finish ambiguous areas with their imaginations.  I also love rugged textural surfaces that allow underpainting to show through in surprising glimpses.  Vuillard was a master at this way of painting as was the recently departed Bernard Dunstan.  But oil paints are manufactured to be smooth and buttery which means that it's pretty much impossible to create the type of surface that I long for without trickery and additives.

These 3 pieces come close to achieving my aims (no painting is ever what I'd hoped it would be) and they all do it a bit differently.

In the first piece, I mixed a bit of Gamblin's Cold Wax into the paint and applied it with both brush and knife, making sure to work dryly.  It's fine to add some more fluid medium to the wax and paint, but I find that it defeats the purpose of the wax - at least for me.  Wax allows a complex building of layers as well as giving the …

New Lighting!

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My studio has north and west facing windows, and I've always yearned for some southern exposure. In my continuing quest for sunlight, I broke down and bought a powerful spotlight from a camera shop: a professional-looking LED light called a Lightstorm Aputure.  It's a huge step up from the Home Depot brooder, clamp lamps with halogen floods that I've been using.  The light is very bright (equivalent to 1000W, according to the salesman) and cooler than I'm used to - something that's always deterred me from buying "daylight" bulbs as they seemed so blue - but the CRI (colour rendering index) is extremely high and so I'm not seeing a colour cast to the objects that I put under it.  In fact, colours are crazy rich, and it's taking some time to get used to.

Below are some of the small still life arrangements that I've painted since the big light up.  Because the light is cooler, I feel like I'm learning these familiar objects all over again.  T…