What’s next? What’s possible? Where is the growing edge? How can I play there?

These are the questions that motivate me and make me want to grow and that fuel my creativity. This is not the path that all artists take but it seems to be mine.

The spark for this painting came from committing to a show in October that will feature the work of artist members of Verity, a women’s club/haven/community in Toronto. Since each participant will have 3 pieces, this became an opportunity to try a new direction or a least a new medium.

That meant … cement.

Cement meant Andrew Crane.

I know Andrew because I follow him on Facebook and have been continually inspired and intrigued by his work.

Thus began a cycle of trusting and reaching.

Trust – if Andrew could do cement I could do cement.

Reach – if a Google search for “how to” use cement on canvas turned up Andrew Crane as the only resource, I could dare to ask him for advice.

The reward – an encouraging response from Andrew with complete detailed steps.

Trust – that I could find the equivalent of the materials that Andrew was using in the UK in cottage country Ontario.

Trust – that I could find my way not only with the material, but with what I wanted to say – surely I needed something new and significant to say.

After several rounds of practice on recycled boards and old canvas, I had a sense of cement but was at a loss for what I wanted to express.

Reach – this was a combination of letting things come to me and exploring out in the world so that there were points of contact for subject matter to arise.

Trust – the thing was that I trusted that the attraction to the immediate and very raw aspect of cement was bigger than my not knowing what to do with it – just yet.

Reach can be described in this context as trusting the process – Was it relevant that I was very shocked and saddened by the untimely death of the leader of the NDP, Jack Layton – right when I was seeking meaningful expression? On Facebook I followed the postings of the chalk homage at City Hall, the outpouring of genuine affection from across Canada from people of all ages, creeds and political affiliations. I wept through the televised funeral.

BINGO – I needed to to harness my own raw emotion and that of the people I was responding to on Facebook and raw cement provided the perfect medium.

Even when I realized that I had mistakenly quote Shawn Atleo as saying “from sea to sea to sea” during the blessing at the service for Jack, I trusted that I could redo the background in order to write ” from coast, to coast to coast. This trust comes from hours and hours of applying paint. If I messed up I know that I can keep going and eventually turn the corner back to something I like.

I am content with what I have done – I trust it to be recognized or not and it doesn’t matter. It feels good that I am not concerned with the opinions of others – at the moment. They may not dig cement on their walls and that’s OK. I get it and have an inner chuckle at the multiple layers and hidden meanings at play in my mind.

Pure cosmic fun!!! That is a reward worth appreciating.

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Galleries love artists who work in series. Artists build their reputation on presenting a consistent recognizable style to the world. Of course it is often permissible to work in two different series if what interests you is vastly different.

Years ago when I was taking courses at the AGO (Art Gallery of Toronto) teacher and artist Doug Stratford worked in 2 distinct series. His paintings of Italy were smaller gems in oil and if I remember correctly were framed alike in charming frames that complimented the work. The cityscapes that Doug did were edgier and presented in a larger more contemporary format. Doug created clear distinctions between the two and had distinct clients for each series.

Of course I have such a strong preference for “what’s new”, “what’s next”, “what’s different” that I create orphan paintings. You know what I mean… one or two or more that have the same thought but never quite have the longevity or artistic weight of a “series”.

This painting is an orphan of one.

I love my orphans and don’t think I will ever have the discipline or whatever the required quality is to narrow my focus. Seems like “Don’t Fence Me In” could be my theme song here.

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Like any great work or performance – some things flow and then there are the times when we struggle.

Sometimes the struggle is a gift because when it is extreme enough it is clear that something is wrong. If the issue is composition no amount of applying technique can fix a bad composition. Hallelujah – get out the gesso and start again.

Then there are times when you have a niggle that something isn’t working but you can’t quite put your finger on what is bothering you. Whether I love a painting or have a niggle, I love to have the time to hang a painting in my foyer so that I get to walk past it several times a day for a few weeks.

During this time I do not analyze and critique what I have done, I simply let the visual information percolate as the piece comes in and out of my awareness. At some point I am ready to make a decision and the painting either gets a finish coat of varnish, a tweak or gets recycled with a coat of gesso.

I thank my unconscious for the quiet consulting.

Paintings aren’t sacred. They are done when they are done. Or not. Even two years later I might have an epiphany and take something off the wall for a fresh look. Think of it as a remix.

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Gallery Additions Showcase Texture

March 5, 2010

Ten new highly textured pieces from January 2010 were added to the TEXTURE gallery

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Shades of Grey in Abstract Painting

February 4, 2010

Vibrant colour is exciting, sometimes overwhelming and occasionally hard to live with. Grey on the other hand can be calming and may be easy on the eye. The trick is to add interest with texture, shape, line and variation of these elements.

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Recent Paintings “All Dressed Up Ready to Paint the Town”

January 19, 2010

Six highly textured abstract paintings in acrylic are ready for the finishing touches. Once the pieces have the edges painted, are varnished, have hardware added and photographed: they will be titled and priced.

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Three Stages of an Abstract Painting

January 15, 2010

Sometimes as an artist you simply get too close to your work to see it objectively. Of course this could simply be what happens to me. This video shows two paintings: one is a painting that I was going to put white gesso all over in order to start again. Several people gasped a resounding [...]

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Video Diary – Watching an Abstract Painting Take Form

January 15, 2010

See two of the stages in painting this highly textured abstract painting… from putting in some basic shapes and colour to adding interest with additional layers and colour and shape.

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Textured Non-Objective Painting Numero UNO

January 11, 2010

This video is a continuation of a previous one that shows the process used to add texture to a painting. I have shown the first finished abstract piece of eight paintings in my January painting schedule. This particular painting will need to have the edges painted, have the surface protected by a couple of layers [...]

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Texture – Putting in the Foundational Bones in a Painting

January 4, 2010

My plan for January is to complete 6 to 8 paintings before the 26th of this month. That includes having them varnished and photographed. This whirl of activity was inspired by an email from Michael Deyell of Covent Garden Gallery a week past. I will also be doing one of the Insight Portraits that capture [...]

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