Returning to class from Yosemite, I had to give a mindless demo of different ways to create textures or to give a sense of surface in a painting. I say mindless because it was simply a blank piece of paper and a bunch of different examples of stamping, lifting, spraying, splattering, smudging, dripping etc . . . .all with no image or intention of making a painting.
Meanwhile, in the back of my mind was a vision I had seen through the eyes of a zoom lens . . . .the face of one of the sheer granite walls towering hundreds of meters above my place on the valley floor. Full grown trees grew out of cracks on the stone! Yet those trees and the abstract patterns in the rock had me buzzing inside.
I took the demo sheet home and began experimenting with more textures and colors and ‘stuff’ just to see what I could come up with that **might** suggest those walls and their abstractions on that same sheet . . .just slobbering layer over layer.
Often, it is the coming together of sheer experimentations and the visions from inspired ideas that create works which arrest a viewer and hold their interest . . . .much more that a tired scene of something everyone knows.
Clearly, to be different, one must do different things at the easel. The painter must allow the paint to act like paint rather than conform to some notion about looking like something else. Experiments can show us painters new ways to consider our beautiful mediums. In fact, I believe most of our work as artists must be connected to experimenting.