The Gears Turn Slowly

“Quadruplets”
oil on canvas, 16″ x 20″
A few days ago, I went out painting with Elio Camacho and stood on the edge of these tall cliffs to paint an incredible vista. When painting with someone else, I am careful not to be too inquisitive about what they do and how they do it. I have my reasons for that, some of which have to do with sticking to my own style. The other reasons have to do with not invading something that the other artist may want to protect . . .such as the specific means to their ends in painting. That’s what I did last week. However . . . . .
Looking at what he did and the mess I had created for myself, I began to realize that he had not gotten caught in the details and textures as I had. The cliffs were just mere shapes. His strokes weren’t even representative of the textures of the cliff face as mine attempted to be. He just made shapes and created volume utilizing strokes, value and temperature. Something I should have heeded . . . . .after all, I know better than to get caught in the minutae!!!
Today I went to the studio with the expressed purpose to be conscious of these things. To consider temperature changes as planes shifted out of the light. To pay close attention to value differences. . . . . and to use my own palette of color. Each artist has their own signature in the colors they use . . . and I have mine.
Reflecting on this last week’s experiences, I realize that the gears are turning and gradually making me become a better painter. I can feel it when realizations suddenly turn on. I get excited when the bulb lights and an idea comes to life with these realizations. And . . . . . . . . . . . . . . . .I just wish the gears wouldn’t turn so slowly. While that wish is present, I am living an exciting and fulfilling life every day!!

6 thoughts on “The Gears Turn Slowly”

  1. Wow, I have been away for a few days and came back, you have been “bizzzy” painting up a storm.
    I am not too fond of greens, however I feel the texture in this one.

  2. The other reasons have to do with not invading something that the other artist may want to protect . . .such as the specific means to their ends in painting.

    Let me assure you there is nothing I do that needs protecting. You can find what I do in a million art books throughout history.

    I just try to put the right color, right value and right stroke in the right spot.

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