The Last Day 2012 mixed media on canvas 18 x 20

So I was reading that Donati was using vacuum lint to create areas of texture in his early paintings. Decided to try this. There was a suprising quantity of hair (human and pet) in it. I was first turned off by this. Mixing it with oil and medium was quite gross. Decided to add moss and dirt to the mix to give it more texture. Still found it unappetizing. Decided to let it dry to see how I felt about it. Felt like I had ruined it as I checked on it over the next week. Was about to throw it away in frustration. Decided to give it another go after watching a documentary on Rothko and feeling inspired by his reds; decided to mix a very deep, oily red. The result is a very wet, angry looking shape, part beating heart and part meteor. It reminded me of a giant meteor blotting out the sun while the spider-like shape recoils and vainly grasps at that waning sun. The earth splits into deep chasms ready to swallow everything up. Decided to call it "The Last Day."

What was once "Portal" 2012 still untitled mixed media on canvas 36 x 48in

Simplified composition considerably. The goal is to "distill" the composition into a more elegant, minimalist composition. I think I could still push this further. Still struggling to paint with white to create perceived spaces while making it look effortless?  *need to study the work of surrealists: Donati, Miro and AEs: Deibenkorn, de Kooning.

Title: The First Day 2012 mixed media on canvas 48 x 48in

Final layers of white (titanium white/linseed/fast dry medium by Holbein) then interference blue mica powder mixed with fast dry medium/linseed (do not add any paint!) The effect on darker shape is mica over *charcoal black.

Portal layer 4 and 5

Started simplifying the composition in an attempt to regain a connection to the subconcious that is "automatic drawing." There were earlier decisions that continued to dictate how the piece was evolving. I felt as if I had taken a wrong path and couldn't find my way back. It became about some mark I had made earlier that I was now trying to save because I feared obliterating it. I found that I must not force some kind of narrative and let the process and the surface speak for themselves. This left me at layer 4. I was satisfied by the repetition of circular shapes and how they came forward in both contrast of value and line. Then in layer 5, this earlier set of marks again held me back. So, I mixed a deep charcoal black, this time adding pthalo blue and veridian. Using my favourite sumi brush, I began to lay out a new composition, trying to capture the energy of the moment and the release of intention. I think it's done.

Portal layer3

As I was working last night, I mustered up enough caffeine-induced bravery to put on a layer of white mixed with pearl coloured powdered pigment. I then reintroduced a section of antique gold to start breaking up the composition.

New painting, "Portal" layer 1 and 2

I am working on a new piece I am tentatively titling "Portal" as that is what is seemingly emerging subconciously as I work. I'm not quite sure about the symmetry, it's not really my style, being too static, but we'll see where that leads. One reason I feel myself struggling with it is the symmetry and visual weight of that dark, central shape doesn't allow me to play with the composition as I would like. I usually like to flip the canvas several times to work out the design and to keep from working representationally. Most likely, I need to obliterate that shape altogether so that it won't dictate how the piece develops. Feel free to critique if so inclined, input is greatly appreciated.

This is layer2, the center "portal" is made using the charcoal black from the demo. I think you can see how wet looking it remains even when dry.

Layer1:  Using compressed charcoal, I work out some compositional elements. I initially intended to have the small shape in the lower left loosely connected with sgraffito and impasto elements to the small scale elements in the upper right. They kind of reach out for each other with tentacles, like some single celled organisms or something. Then, the portal emerged. Perhaps it's referencing birth or a metaverse.

"Impasto" painting technique.

This is the technique I use for creating raised impasto in paintings. Although it is not true impasto, I am attempting to commensurate drawing and painting using thick paint applied from small squeeze bottles. The acrylic design is applied and allowed to dry. Then, layers of oil paint are applied over. The underpainting is darker so that it will show up when I scratch back into the oil paint using a stylus or palette knife (sgraffito).

By the way...I really do listen to my music that loud when I paint

Demo mixing charcoal black

Here is a demo of how to make the deepest, oiliest, shiniest black ever. You will never go back to anything in a tube again after using this stuff. The formula is one part ground compressed charcoal, 1 part linseed oil, and 1 part fast dry medium. Use water to thin to desired viscosity.

New series "Elyon" 2011

Here is finished work and work in progress as part of my new series Elyon, 2011.