O143: The Strangest Sea

An abstract made on a beautiful blue afternoon. Not 100% happy with the patterns and balance of the scratch-marks, but there is promise in the rest. I will keep on chugging away at this one for as long as the canvas can take it.

The slow and hesitant switch from planned and controlled to a more intuitive form of painting has been a wild and mind opening ride for me. Working on a painting in an intuitive manner takes a deep form of trust. Trust that the image is already there, waiting to be teased out; trust that my own view of what looks and feels “right” is enough and valid. It takes trust and one operates on hope, from one painting to the next.

Emily Dickinson also knew a thing or two about hope:

“Hope” is the thing with feathers –
That perches in the soul –
And sings the tune without the words –
And never stops – at all –
And sweetest – in the Gale – is heard –
And sore must be the storm –
That could abash the little Bird
That kept so many warm –
I’ve heard it in the chillest land –
And on the strangest Sea –
Yet – never – in Extremity,
It asked a crumb – of me.
this copy from Poetry Foundation
Thanks for visiting my little blog!


6 thoughts on “O143: The Strangest Sea

  1. This kind of painting takes all what you said, a stepping back, a spiritual rhythm. So, have you thought of using those scratch marks as a way to go deeper in that area? That is what came to mind. Going deeper meaning working with the scratches and somehow bringing depth to the viewer. Sounds like I am speaking riddles, perhaps I am. Just speaking off the cuff of my creative spirit is all. 🙂 oh and that scratch to the right, perhaps using it to (it does take the eye out) bring the viewer back into the painting but at a different point? and again perhaps work more “depth” in those scratches. Man….now I am pondering at what I am saying! You did tell me to speak up when I wanted. I am only doing it because it is there in front of me and I have to tell you! I love your painting by the way. The colors, the solemnity of it, the word that seems to convey what I feel. Anyway, just thoughts rushing through. Disregard if need be. Have a wonderful Sunday!

    Liked by 1 person

    1. Thanks Margaret! No problem with the questions! I am no academic when it comes to painting, but for me scratches are one way to highlight the texture and surface quality of the painting. It is thus one of the means to achieve texture and line, these two being some of the elements of abstract art, along with color, pattern, etc.
      I am really going by intuition – when an area lacks direction or energy, I use a sharp pen to scratch through the imasto paint. In this case, as you say, the line takes the eye out of the painting. I have since blocked the end of it. Anyway – it is definitely not for everyone, but at the moment, this is what I enjoy doing. Let’s see what happens next!

      Liked by 1 person

  2. Nice work! My 2cents: art is hard, whichever way you cut it. When I was working abstractly in acrylics, it was mostly therapy for me; it was like you say, trusting in intuition. You still have to work at it to make it look right. Working in relative realism, you’re trying to achieve verisimilitude which can be kind of tedious. But you still try to bring in some kind of abstraction that works. Either way, it’s painful but glorious when it works.

    Liked by 1 person

    1. Thanks Jeannette, I agree. As one artist (Aletha Kushan) said “art is psychologically risky”. I find abstract art easier on the nerves but harder on self confidence. At times you have to believe in your self and your self worth, probably for a long time, before something of quality comes out.

      Liked by 1 person

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