IRIS –PAINTING PROCESS 1.3 THE REALM OF COLOR

Here I am developing the flat design. Post-impressionist works are about color and expression within the strokes thus communicating feeling. This Iris project seemed right to express itself in a post-impressionist way – symbolically, abstractly, and abstracted. These concepts of post-impressionism opened the door to modern art. While the natural impressionist work had a narrative that follows a sense of place in a representational way. In this way here, the Iris is an archetypical element where I play. It’s inventive which is part of the allure of working in this way.

This sequence of patterns is in the realm of van Gogh, Bonnard, Cezanne, and Gaugin. It is more personalized. Here I place a color down then something will spark my eye and then the dance continues. It is color now as psychology, as spirituality; the brushstrokes are not illustrative but they are following a feeling, a calligraphy towards the dialogue between the canvas and the color. I let it take me to follow an inner call leading into mystery.

To stay within the creative zone listen to the still small voice, that is always there, I listen to music or pray. Take care for we can fall into eye fatigue, brain fatigue, body fatigue, and material and method fatigue.

Enter into the moment of the brush, contact with the canvas, the way the paint oozes out in contrast with the other colors. Step back to see how to optically mix the colors, then charge the brush, and move in to place it on with all the passion you can muster. Pressure, speed, and the correct viscosity are needed to have it flow off the brush.

Place spots of color around the canvas to have the work – pop.

Note: Work on different paintings at a time, to have them learn from each other You can use colors from the palette from one to another painting; it creates uniformity within the series. And helps one learn how different colors work on different toned grounds.