Saturday, June 23, 2012
I almost gave up on this a few times . . . there was so much information
with orange reflections bouncing all over the plate, cast shadows, and
"wrinkles" of light and dark in the plate itself, I had to simplify a bit. The
fork had a very complex reflection as well as shadow and it got the best
of me—had to leave it out. My first version was very sedate and boring.
When I worked at it again, my intention was to break the boundaries of
the objects and the only way to do that was take the setup down and eat
the peaches. When I'm looking at something, I become a slave to the literal.
So I used the first version as a roadmap and painted over it focusing my
attention on the painting surface rather than what I was painting. It seems
to be the only way to go beyond my "little self" as Suzanne Stewart says.
Before I paint a still-life I usually spend a little time looking at Stanley Bielen.
The painting I've linked here is tiny—8.5 x 7 but in its simplicity, it feels
monumental. He's all about the paint.