The process of formulating a painting is fraut with difficulties.
What may seem to be a very simple relationship between colour, subject and form to an outsider, is often a complex web of decisions that you made, un-made, and didn’t make at all.
The above painting is at first glance a fairly straightforward piece, in composition and chromatically. There are only really two tones here, and the piece holds itself together thanks to this quiet harmony.
Nature works in harmony with itself; even though it doesn’t always seem to be the case. Raging savanna fires restore the balance of populations and fertilize the grass, the weak die so that the strong can survive. There is a delicate, complex web that unites all species, all habitats and all natural phenomena.
The harmony of nature is the theme I approach in painting. And New Zealand’s sparky, fat parrot the Kakapo is a perfect example of this. This unfortunate flightless parrot had evolved in perfect harmony with its natural forest habitat that was free of ground based, furry predators. But times change, and we, like the Kakapo, have to evolve with them or find a new harmony.
The purpose of this blog is for me to lay down some ideas for my next painting; figuring out what harmonies I need to figure out before I put paintbrush to canvas. It’s important for a painting to appear unified and effortless, whilst at the same time evoking a sense of a deeper meaning behind it (and I’m not talking the meaning behind a black square, either, I’m talking something real). How do I transform a subject, a topic that moves me, into a canvas that moves others?
Instead of looking at the finished painting as the goal, look at the whole process. An evolution in itself.