speaking of abstractions

Abstractions can be more difficult than any figurative piece.  But I love working in both areas.  Abstractions keep me focused on my balance, elements and principles or art.  They communicate and engage a viewer without a specific content.  There is a vibe/emotion that is like no other.  This is what I hope translates to my figures as well.  So I must continue this path of exploring both in order to enhance the impact of both.

My most recent abstractions are still dealing with moving and leaving precious property and finding that new space.  Most of these I paint as if I am viewing from above, a bird's eye view.  Possibly because I cannot grasp (emotionally) getting closer than that.  I don't view these as negative feelings, but a wonderful way of acknowledging emotions of something past, and what still lies ahead.  I must acknowledge that I love handling the human form from different perspectives and probably my favorite is the bird's eye view.

I believe the land/tension abstracts began with "One Foot in Paradise", oil, larger painting.  I still love the feel of this abstraction and the breaking down of the areas.  This is a piece I can engage with, and how this spoke to me along the way.  The color harmony works  and I still include my linear elements.  Still have an affinity in keeping an off balance of small medium and large areas.

This one is still for sale.

I have done numerous pieces which are on my site but I am focusing on a few.

"Eclipse" is a favorite because it pulls on my love for mixed media.  I first applied a colored gesso base, then added shapes and forms by collage method.  Glazing and painting pulls my composition together and continuing the use of linear.  I am happy with the punctuation of dash markings around the more centralized sphere, and how the tonal yellow ocher plays quietly with the blue.  This is a quiet color piece allowing the shape elements to play with the more powerful components.  The negative space blue  allows your eye to move gently through the composition.  The speckling that I created in the piece became necessary to the larger areas and worked as texture to the rhythmic dashes mentioned earlier.

Currently this is not framed and can hold it's own without a frame,but I would love seeing a frame edge on this piece.  Possibly I am old school with the attitude of a frame on a piece, it creates a boundary for the eye, but should never dominate a Fine Art piece, or draw the eye from the fine Art.

I spoke about "Black Roof " on an earlier blog.  This is definitely an immediate, impulse of the move.  I believe this might be SOLD, did not hear a definite from the gallery.  It is not framed and it is a smaller piece.  The orange placement works.  The two areas of orange are necessary to the piece, just one area of orange would not have worked.  And the oranges vary in size, very important, and placement is crucial.

"Forbidden Street", funny how I will like pieces better than others.  For me, I really am happy with this.  Linear is happening; the small,medium and large areas are working and are crucial to being off balance (a positive).  Three areas of yellow ocher poke their heads to add play to the color field and composition.   This piece is currently framed.  It also has a collage base to create textural intrigue to the surface.
Why the square and x's, they ground me with shape and flatness.

"Doors" is an oil , that is very tactile.  And, of course, linear is painted as well as scribe lines.  This also is a mixed media since oil pastel has been introduced.  This has been painted on black gesso.  Red punctuation of color dance across the surface with slight markings that carry the cool vibes of the palette.  This piece is not framed, but does make me smile, I love how the colors mix and still read as separate hues.  I am reminded that I have many options or doors to choose.

The most recent of these abstractions, again with numerous others not shown here, are pushing me to use a swipe technique.  I have used the swipe technique in flower paintings and figurative pieces:
Above is "Red River", a two panel piece that I would like to frame in a narrow wood floater frame.  This piece is 2' high and 4' wide.

Next was "Island Highway", which resembles "Forbidden Street" in its break down of composition.

I am particularly happy with "Island Highway" because it delivers.  I created my acrylic fields of blues/blue values and I used a controlled swipe with lubricant to create the rust white area.  Within that area I have created my necessary smalls, plus they happen in the lower left hand corner.  I added the linear in the black line and then with graphite.  And certainly added shape with my circles of graphite.  This is currently unframed.

"Ocean Bridge" followed "Island Highway".  This reads busier than the others, but the balance remains.  What works effectively, would be the yellow hued element across the top edge that was repeated from the lower sections of the same hue.  The linear in this piece becomes harder to see , but it is a zig zag that becomes part of my bridge.  This piece is currently unframed.

Above is a horizontal piece" Below Clouds".  Check this out on my web site for detail views.  I love what is happening.  The flat fields of color divided by an arch, linear elements and making sure I had a hard edge one of the sides!!! YES!  Happy.

Last, I would show "Falling"; a piece that would definitely go overlooked on a site.  This is very minimal, but I am tied to the soft values, and the soft speak of the piece.  Grays and soft orange occupy this canvas.  I do believe this needs a frame to hold it, but it has to be gentle and not crush with black hardness.  Enjoy, that you have seen this vastness somewhere before; dream, and never stop dreaming or being inspired by your dreams.


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