For this painting, I used no visual reference. It started as an abstract idea, which evolved into a semi-abstract painting of flowers. The idea I started with was to make a statement about Paris in color and shape. When I think of Paris, I see mostly dark green and white stripes, and splashes of hot pink. Voila!
This was an attempt at an abstract iteration of a landscape which I did for my UNM class. I couldn't help but be influenced by the hot colors I see in Taos, not only in the vivid sunsets but also in much of the art I see in galleries around town. I had intended to warm up my palette after leaving the cool blues and greens of California behind, but I think I can dial it back a bit now, as this is a bit over-the-top, even by my standards. Still, I do find the two abstract compositions rather compelling and might make an effective diptych. I include the original to show the springboard I started with in this experiment.
This digital sketch came about as I was pondering Vincent van Gogh's cypresses and Paul Cezanne's Mont Sainte-Victoire, and their respective palettes, so I combined them in a picture from my imagination.
As promised, I have delivered . . . yet another metal painting. I just can't seem to stop! For some reason, it feels like a guilty pleasure, the paint sticks like glue to the surface, which I love, and the shiny metal ground pokes through to give it a certain glow. These metal paintings are luminous, if I do say so. So strong and yet so fragile, all at once, they need the kid glove treatment. They're divas! This one I painted from a poster of a cruise ship on the lake and left it incomplete because I got attached at that point. Always a good time to walk away, in my experience.