|"Dark Ladder" acrylic on 8" x 10" canvas|
In the fading light I examine my walls, scraped bare,
Some, but not all, of their guts exposed -
A stew of colors, a few palatable, others putrid;
Glues from coverings best forgotten;
Telltale signs of holes and gaps and vulnerabilities.
Yet the scattering, the dissonance, is attractive to me.
It is perfection that is disturbing.
I think of this as I scale the ladder in the dark
And apply my first coat of
Smooth, aromatic white
* * *
PAINTER'S NOTES: Mari of Colour Blob who, by the way, is doing beautiful work of cold - very cold - winter days, commented and asked how I got the texture in the painting, whether it was dry brush, so I thought I'd add my response here because the result was a surprise to me, and the process of painting was a bit of an adventure:
The painting began with an exact, almost photo-realist painting of the ladder. I am impressed with but not a big fan of photo-realism. It was properly done, but uninteresting, and I did not like the colors or the composition. So I stuck it in a drawer where it stayed for months.
The other day I pulled it out, felt wild and wooly, and decided to start painting over it in a very free manner. Some was wet and some was dry. I was all over the place. I believe I was mostly wet first, and then went dry on top. Not sure. I thought I was going to ruin it frankly, and I didn't care because I didn't like the first "draft" and could always use the canvas again. Maybe that is when you do the best, I don't know.
Then I pulled out the tool that I have truly begun to relish in my acrylics (which worked very well for me in another painting - not quite finished - that I haven't posted yet) - a rubber sculpting tool that looks to all of the world like a spatula. It could be viewed, I guess, as a soft painting knife. I love what it does. That may be some of what you see.