A steady day of work with painting. Each day focused on the task of making the best art I can. I've had many breakthroughs and changes to my art philosophy, and ways of working, in 2024. I'm full of ideas, but face the future with same same anxious trepidation that all artists do.
I started with a desire to work on the next batch of 4 paintings, with this idea:
A pertinent enough sentiment for someone who has spent 40 years working in the same room! The title that came to mind is 'I Know Why The Caged Bird Sings', from the novel, but not related; this is about birds and cages. The parrot-man reminded me of van Gogh's parrot, an image I painted in my early days, I think twice. The scene to me suggested van Gogh's bedroom painting too, and broad impressionist strokes.
The size exactly matched a panel I've prepared for an old frame, an ugly frame painted with brown plasticy paint. I started the day by stripping it down with a wire brush and staining it red. Then, a trip to Bickerton to collect my paintings. This, my only exhibition of the year in the tiny village hall. No sales, which is a trend of late but unusual historically; I've more often than not sold one there. I could do with the money, but I know that my painting is on the ascent.
I worked on the full sized drawing and painted a study on paper to work out the tones and colours:
I've watched a documentary on Constable, an artist I like. He too painted many oil studies on paper. Like him, I'm faced with the problem on matching the joyous feeling of these little works to the final result. Yet I'd find it impossible, partly because I'm a master of the smooth now, and can't help but blend and shade. I'll be painting this on a smooth panel (as this study is), which makes everything more complex, adding unique variables. Smooth it will be, like Vermeer dreaming of Leonardo da Vinci.
The next step is to prepare the panel and transfer the drawing.
