7 thoughts on “metamorphosis of a painting

  1. Excellent idea for a post Donegal gal! Can I ask whether the decision on when the work is complete is sometimes tricky? For example, was stage 4 (above), necessarily incomplete to your eye? [mine is untrained] And do you sometimes press on with a piece just to see what will develop, disregarding ideas of completion/finality?

  2. sometimes I continue on until the painting is nearer to mud than art!Interesting that you should spot that stage 4 was a ‘staging post’. It actually stayed like that for a month or so, but I didn’t like it very much. This canvas was then used for a trying out of a new style I was attempting. The new style involved using many thin layers of paint, sometimes with a roller. I wasn’t sure how it was going to pan out, so I decided to use an old dry acrylic painting that I didn’t like as a starting point.In the event the final painting was better than I expected and has since been sold!This multi layered style is now the basis for my work with oil and cold wax medium, and I owe a huge debt of gratitude to the American artist, Rebecca Crowell, from whom I have learnt the technique, and with whom I am attending a weeks workshop in County Mayo this November

    • Nice and direct with your opening response to my question – I like your style. In the past I too have noticed a tendency to ‘boil my cabbage twice’ as they say up in Yorkshire. [Don’t they call it ‘painting legs on a snake’ in the Far East?] But maybe I misunderstand the over-working you speak of. I used to live with a painter and would love to watch her working away at surfaces – priming, applying, rubbing away, thinning with white spirit, re-applying, obliterating, pasting, scraping (I don’t know the technical terms), but it was like watching magic being performed or something. She worked in oil only so this process occurred over a period of months (drying time). To me, it was all very mysterious and I began to form an appreciation of the huge amount of work that can be involved in painting abstractions (and how bloody hard is to sell them). I will check out Rebecca Crowell, as I’m fascinated by all this. Thank you for the insight on your working processes, and glad you sold the painting with the ghost beneath.

    • It’s sort of been a Donegal weekend here in Glastonbury. Looking at and contemplating upon your work meant I only got 4 hrs. sleep last night, but I seem to have been energised with the viewing – so thank you. We’re building up here for the big performing arts festival that starts in a couple of weeks, and I somehow get swept up in the energy of that too. So you’re not entirely to blame! As to ‘astute comments’, then I doubt that very much. I’m an unknowledgeable enthusiast who doesn’t mind asking the dumb questions – that is all. Best, Hariod.

      • Glasto!Of course!My son goes most years, but he’s missing it this year for our big family celebration of my husbands 60th birthday. We are all celebrating in a youth hostel in Wales, then walking up Cader Idris the next day 🙂 goodnight Hariod, hope you get a better nights sleep tonight

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