Friday, September 23, 2016

New painting- Putting it all together, maybe, finally


Here's the new painting I just finished. I'd like to blab on about it for a bit, if I may...

"wander heart summer breeze" 36x60 (click for details)
After two or three years of changing my style, and forcing myself out of my artistic comfort zone, I've finally got something in this painting that feels like, uh, hmmm, feels like it's where I wanted to go with this whole style change thing, actually. This piece is integrating comics and narrative, compositional flexibility, and richness of colour.

I think I can really do a lot with this style going forward, and I might actually be done changing my style for quite a while. Which is good, because changing your style for an artist is a risky thing: the partly evolved artwork will vary wildly in quality so it'll be hard to feel good about it. It probably won't sell well, you'll lose customers who like your old work better, and you won't have a consistent series of work that a gallery can promote to their customers. And it can get worse from there:

You end up with a pile of failed experimental paintings, pieces that might have some good bits but overall aren't good enough to put out in public. You not only spend a lot of time making these experimental pieces that don't turn out (and not making any money in the process), but then you have to spend a lot of time thinking about them and dissecting which things worked and which didn't and what to keep going with. Does it just need a small adjustment to make it good? Or should you just toss this whole idea out and start over? This also means you're spending your time thinking and puttering, which is great in and of itself, but you're not making any paintings you can sell, so again, you're still not making any money, while at the same time being frustrated with what you're doing. It's incredibly frustrating.

Don't get me wrong, I really like many of the transition phase paintings I did, and many of them turned out really well, but they just weren't quite 'there', they weren't quite what I was looking for. So that's why I'll say I'm happy I've gotten my work to this stage, because this piece feels like it's 'there', so it's a milestone for me. I can now start to assemble a consistent group of work in this style to bring to art shows and send to galleries. Wooo! (also: relief)

Here's a close up photos with for comparison of my old heavy paint style, with the new one, showing some texture:

Old style: There are probably at least 12 different carefully mixed colours in this section of sky.

New Style. A different (better) way to juxtapose different colours in an area.

What's changed over time is that I'm no longer working with really heavy paint with carefully chosen colour combinations, put down in a way that meant most brush strokes were final. I really loved the texture and colour I was getting from that, but I eventually found that style was, while kind of exciting to do, still too restrictive. I'll try to explain:



"Edna" 2013 - an attempt at more comics,
 but still with heavy paint.


Firstly, comics: the heavy paint didn't mesh well with adding comics style panels and insets,which is something I really wanted to do. Why do I want to integrate comics and text and narrative elements into my painting? That's going to take another blog post, so you'll just have to take my word for it. Anyway, at first I tried mixing comic panels and heavy paint, but the two things just didn't go together really well. (see Edna above) Then I started adding photocopied text in the base layer of the paintings, and simplified the paint, no longer juxtaposing multiple colours in one brush stroke. (see waterfront below) This allowed me to get some of the comics and narrative elements into the paintings that I wanted to, but it still wasn't quite there. It was still a bit too inflexible. Which leads to the second point:


waterfront, 40x48

Secondly, inflexibility: the heavily painted brush strokes and even the type of composition in "waterfront", didn't allow for changing the composition of a painting while partway through. I couldn't really add or move any objects in the painting or change colours without wrecking the quality of the existing brush strokes. I had to get the composition right at the beginning and then stick with it after that, so I spent a lot of time futzing and stressing at the beginning of every piece. This just became too stressful. Now with this new style I've taken what I started with the comics + text elements further, and I'm allowing a lot of areas to stay as transparent glazes so they don't all have to be filled in. The thin layers of paint also mean I can just add in new things at later stages. So, with this new style I can just start painting without having to have every last detail figured out at the beginning, because I know I'll be able to change things as I go along. I can just get some pencils and markers down and then go with it. Which is really exciting.

Things changed quite a bit between the beginning and the end. It's nice not to have to perfect the composition right at the beginning, knowing you can make adjustments later on.



Third, labour intensity: the heavy paint paintings were just taking too long to make, and I couldn't find a way to speed them up. As an artist trying to make at least a partial living from my work, the time it takes to make a painting is always at the back of your mind, applying pressure and stress. If this new style can help me make paintings faster, it will hopefully alleviate some of that stress.


Thursday, July 14, 2016

Friday, June 10, 2016

New Robot Paintings Posted

red devil - 16"x20"


I've finished some new robot paintings and I've posted them to my website. They're all done in my undertexting style, which is continuing to progress, as I'm still trying out new things with it.

I know it's been a while since I've sent out an update, and I would've liked to have sent one out sooner, but I had surgery on my shoulder to deal with a recurrent injury, and that put me out of commission for a while. After I recovered enough to get back into the studio, I got my head back into it and shook off the rust by repainting over top of an older piece:





autumn tree, sailboat - 22"x30"




























After that, I finished some of the robot pieces that I wasn't able to finish before The Artist Project Show. Check the link above to see them all.

Next up: I'll probably be doing another series of new robot paintings, so keep an eye on my Instagram/Facebook/Twitter feeds to see how those are progressing.

Robot Prints: As well, I'm thinking about making prints of my robot paintings available. If you might be interested in something like that, please let me know.



Thanks so much for reading,
cheers,

Marcel

Sunday, February 14, 2016

So about those robot paintings I was going to try to finish...

 

for @theartistproject : I've been waylaid by the flu, unable to work, and exchanged the paintbrushes for wads of tissues. This is pretty disappointing as I really liked where these pieces were going, and it would've been great to show them next week, but what can you do but try to get better? Hopefully I remember to get my flu shot next year, I'd forgotten how rough the flu is.

 

Thursday, January 14, 2016

New winter paintings online

Here are some new winter paintings for you:


I also uploaded this one:


I've also uploaded some close-up detail photos, so you can get a better idea of what they look like. 

I'll be showing these at The Artist Project in Toronto in a few weeks.

cheers,
Marcel

Friday, December 11, 2015

My art book, Great Canadian Emptiness, has arrived from the printer, and is ready to order.


 
Hi Everyone,

My art books have arrived from the printer! The print quality is very good and I'm really happy with how they've turned out. Great Canadian Emptiness is $29 and you can order it online through my Shopify store at this address:


http://aporia.myshopify.com/products/great-canadian-emptiness-artbook

You can also send me a personal cheque if you'd prefer to pay that way. If that's your preference, email me and I'll send you my snail mail address.

I know I originally thought I could sell them for $25, but unfortunately I forgot to take the US-Canadian exchange rate into account when deciding on a US printer, so I've had to bump up the price a little bit.

Now I'm going to get back to the studio to try to get some new paintings finished for the Toronto Artist Project again this coming February. I'll have more updates on that as the date gets closer, but there's more info here: The Artist Project

Thanks so much for reading,
cheers,
Marcel