Abstract Painting - Final Stage

"He who works with his hands is a laborer. He who works with his hands and his head is a craftsman. He who works with his hands, his head and his heart is an artist."
- Saint Francis of Assisi

Abstract 0911, 34" x 48", oil on panel, 2011.

Following up on the previous post on this subject, this is the abstract painting in its final stage. Finishing touches still remain. And even though I refer to it as the final stage, the stage is unique because it may take some time just sitting there against the wall in my studio. It may be that, as I've removed my focus from it, the painting will live with me for days or weeks and let me know whether it is done or needs some more work. Sometimes a painting will reveal its needs in a week which may lead to an overhaul; other times a week is enough time to understand that there is nothing else I can do to add to it. There is never a specific formula, and each artwork is different in this regard.

I will keep you updated on what happens with this one...

Abstract Painting - More Progress in the Studio

This photo shows the middle stage of a painting on wood panel I am currently working on in my studio. It is a continuation of my first blog post on this painting.

After completing several layers of glazing over the underpainting, the palette was expanded, and thicker opaque layers of paint were added by blending, scraping, and scratching, while allowing certain areas of the previous layers to show through. It is planned that additional thicker layers will be added, but that can only be done once the latest layers dry to a certain point. The number of additional layers remains uncertain, but they will continue to be added until the painting "declares" that it is complete and nothing more can add to it.

For those who saw the blog post showing the beginning stages, you will notice that the painting is now at a horizontal rather than the vertical it was at before. This happens from time to time during the creative process and is part of the intrigue with abstract painting. The "top" of the painting may not be established until just before the work is completed. And again, the mission is to create a work of art that can stand alone in the end, holding the attention of the viewer by a striking presence and by ambiguities and prompting questions.

You can click on the image for an expanded view. To see all blog posts and other doodles, click HERE. Thank you for following the works in progress, and the paintings, sculpture, drawing, doodles, and other art by Los Angeles artist Lucas Aardvark.

Doodle of the Day - R.I.P. Cy Twombly

Cy Twombly was an internationally famous fine artist with contemporary works of art which were mere scribbles and chicken scratches made with pencils and crayons. His "paintings" often caused people to respond with "Are you kidding?" or "You call THAT art?"

Twombly was prolific in his lifetime as an artist, and sadly, he recently passed away at 83 years old. This link shows some of the scribbles on canvases that made him hugely successful. It is remarkable that his works of art were not dismissed as children's paintings. Or maybe they were children's paintings and Twombly proved that success in the art world has nothing to do with artistic talent.

You can click on the image for a larger view, and thank you for following the Doodle of the Day and the paintings, drawings, sculpture, daily progress, and art of Los Angeles artist Lucas Aardvark.

Abstract Painting - Progress in the Studio

This photo shows the early stage of a painting on wood panel I am currently working on in my studio.

In abstract painting, the process is like a leap of faith in that I don't have a specific vision of what the completed painting should look like in the end. This is what makes abstract art both challenging and intriguing. Early on, I do have an idea of what the next few stages will be in the painting process. That allows the current stage to be completed with confidence. This is important because if the painting is young and the next stage is unknown, the painting becomes lost and may remain in limbo forever.

The painting here is young but the next few stages are planned. First, large shapes of color were applied, wiped, and scraped to establish the underpainting. Second and third layers of cool (as opposed to warm) color have been applied again, in thin glazes. The glazing effect creates luminous colors and a sense of distance between the paint and the panel. Still, I am not too concerned with the shapes and colors at this point, as I plan to cover up most of the surface with subsequent layers and "fatter" paint using scraping and pulled-paint techniques. It has been planned that the luminous glazes of cool color should provide various backgrounds and areas of interest behind the subsequent thicker layers, where the thicker layers break up or do not cover the surface completely.

On the table you can see I am using a very limited palette at this stage -- just five cold colors, while also utilizing the white ground of the panel. Each color is translucent and perfect for glazing. Once this stage is complete, however, I will expand the palette and use several more colors, adding warmth, contrast, and more texture. The mission is to create a work of art that can stand alone in the end, holding the attention of the viewer by a striking presence and by ambiguities and prompting questions.

These are all techniques also used for painting representational figures (realism) and an example of how, to the artist, abstract painting is the same process.

Thanks again for following the works in progress, and the paintings, sculpture, drawing, doodles, and other art by Los Angeles artist Lucas Aardvark.