While I was at the easel last Monday, carefully applying the colors of the spectrum in order, ie; from yellow, orange, red, green, blue to violet, I went into a trance-like state - at least that's the best way I can describe it. An inner peace came over me and I surrendered to it. Every move I made felt right. Each decision about color was harmonious to the last one as well as to the next one. I guess this is my way of saying I was in the flow.
For this blog, I brought out the first five paintings that I created as part of my "Oil Spill" inspired series. I decided to compare and contrast them to my most recent works. The elements of color, design, and emotional energy have been chosen for this discussion. I've also included several photos of the works in this series. However, due to file size and space, I can't include them all. I feel that the ones I've selected can show the changes.
The first painting entitled "Sunburst", is bright, bold, and dynamic in color. However, the design is simple. Even with a basic circular design, the emotional energy is vibrant. The second work in that series, "Gold Vein", follows the same design concept but the viewer can see an end result that is different because it looks totally different. Remember, it's not necessarily the subject matter we're looking at; it's the under-lying elements.
By the third and fourth paintings, I started seeing some minor changes. "Fall Sunflowers" had much of the same emotional tone and bright colors, but seemed to come across more somber. On the other side of the coin, "Seagulls Looking For Food", had more energy, color, and movement, but offered a lighter or humorous side to things.
These next two paintings show where elements start to change. This is all part of the exploring and creative process. I'm not comparing whether they are "better" than the others. In fact, clients and the public in general, seem to like the bright contrasting colors more so than pastel colors. "Hills And Valleys" was the first pastel experiment. The design is more complicated, although the emotional energy has been described as wistful. Not my words... but people who have viewed it! "Babe In A Manger" contained many shapes and lines, but the overall effect of the pastel colors, the rounded curves and lines, as well as the overall flow, slowed down the energy even though it was positive.
The last two paintings, "Bathers At Pool" and "Sea Turtle", which were done over the past week and a half, return to bright and bold color values with some pastel mixed in. Their designs are still somewhat more intricate, especially in the Turtle painting as it comes across rather dimensional. It is also a good example of works that may have similar colors and even patterns, but the energy is different.
One of the best outcomes of comparing these paintings, is in regards to an inner inventory I've taken of myself as an artist. With this series, which has been ongoing for approximately six months, I have witnessed a growth in my confidence and even my skill, as I've fearlessly experimented with color, forms, and technique to achieve more polished works that I am proud of. It's not a question of getting better - am I growing as an artist? Am I willing to stick my neck out and try new things knowing full well I may fall flat on my face?
This reminds me of when I was in college, (and no, I'm not going to specify when that was). I had a ceramics professor who gave us an assignment to create a series of works using a theme that showed growth. One student created a series of bowls. I created a series of vases that had spikes and prickles all over them. I even made a blow fish as inspiration. The other student told me she thought it was a "very kindergarten idea" when I made my fish. But from that, I not only made several vases, but also a series of sea plants that were tubular and slightly twisted in shape (like they were flowing in water) also with spikes and prickles. I was curious to see what I would end up with after they were glazed and fired in the kiln. To everyone's surprise, including the professor (she thought the spikes and prickles wouldn't survive the kiln process), they came out brightly colored, polished, and wild looking. All because I experimented and trusted my creative process; whether the finished ceramics would survive or not was not the only final goal. In fact, I still have several of those pieces in my house today.
Until next time,
The Growing Painter,
Jill
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