Avian Serenity – The goal of this exhibition is to narrow down the visual subject and emotional narrative. By doing so the artist is forced to work with a more confined choice in the hope that the restricted subject will be explored with greater depth. The end result yields a greater degree of variety on the particular subject.
I want to capture the essence of a particular bird, but at the same time avoid making the birds look like suspended lumps of concrete or chiseled bird shapes from driftwood. This is something i notice with many depictions of birds, beautiful detail, but stilted execution resulting in a frozen inanimate rendering. It is a difficult balance to achieve what i want, because i am prone to using a particular method of gazing. This usually results in a more defined detailed rendering than an impressionistic gesture.
I want the feeling of motion, like the wind whipping up the plumes of the bird while resting on branches, but at the same time i want to describe in sharp focus specific areas of detail depending on the pose and angle.
Below are three images revealing a little of my process for preparing a gold leaf base effect for some of my canvases for this up and coming exhibition.
1) Glaze medium. This is used to bind the paint compounds together.
2) Bronze metal powder, Bronze powder premixed. I prefer the powder unmixed so i can figure out my own ratios for mixing.
3) Bronze residue left in my water bucket. I use this bucket to stand my brushes in while i work. Then wash the brushes out with soap when I’m finished. Finished as in, when you finish each session of painting you rinse brushes out. I confess to shirking this important chore and left them standing for days, this is extremely naughty and bad for your brushes. If the brushes had a voice, they would be like the Animals in George Orwel’s Animal Farm writing their own little manifesto against me.
Ah….another very important point to make is when you are mixing the bronze powder into the glaze, wear a mask, I mix outdoors.
Below are the paintings with a Gold leaf base effect
Yellow and Blue symphony
The images below, the landscapes are primary and the birds secondary to the importance of the narrative. I find landscape painting difficult technically, i choose to include a lot of variables and execute them quickly, owning to my attention span constantly being challenged by other competing desires……such as napping, shoe lace tying and being interrupted and figuring out any random noise..
The West of Ireland
The Enchanted Antrim Glen-
The painting below, i am using Gold iridescent paint.
Below is a painting still in progress. I am calling it “Fibonaccis beauty”. This painting will be the main center piece owing to it’s size and ambition. Fibonacci introduced to Europe the Hindu-Arabic numerals. The painting is loosely playing with the rule of thirds and the Golden Mean Spiral. The rule of thirds can be applied to many things, it’s a system that is thought to reflect universal truths about the maths used to create perfect balances in the Universe, weather it’s a face, a sea shell or used in Architecture.
The composition is loosely based on this particular Golden means using the thirds principle, it’s known as Fibonacci Spiral. For my painting i have flipped it and rotated it 90 degrees.
I have started to work on a halo to emphasizing the idea of a perfect balance or universal truth. A concept that would have been incorporated into the world view of the people using this system from the classical period. It certainly would have been incorporated into the Ptolemaic world view. I am alluding to the period in art History of the Byzantium Empire that would have had access to this knowledge of ratios and many other classical concepts.
“Fibonacci’s beauty” is watching me carefully to make sure my handy work is up to standard. Below is the finished piece.