I’ll be calling this one “All the Time in the World”. It’s a bit challenging but that’s a good thing. Clocks are a subject I’ve worked with over and over again for many years. Rife with symbolism and ideas – it’s an ongoing process to perfect technique. Layers of paint over several days, I keep entering the studio throughout different times of the day and seeing areas that need reworking.
This past week I spent some time with some do-overs.
These two paintings are from a few years ago and although they don’t look too unusual for my work, they did before I repainted the backgrounds.
Before these pictures were taken, the backgrounds were what I call explosion blue. They were a vibrant, unnatural, unfamiliar, chemical blue.
They were complete and even hung in a gallery for some time, but I was happy to get them back to correct them. I was pleased with the balance and geometry of the compositions, but the blue was so peculiar to my eyes that I had a hard time looking at the paintings.
I removed the varnish and added some layers of a much more subtle and neutral tone — a white/grey with only the most subtle, barely perceptible hint of blue. Immediately it felt as though my own personality returned to the paintings.
I did the vibrant blue backgrounds on the suggestion from a friend who was giving some opinion on changes they thought would add some “pop” to my work. In a moment of weakness and confusion, I took their advice. It was as though my own signature was removed from my work.
The opportunity for the do-over has been very therapeutic.
Imagine if life were like a painting. Imagine if you could literally get a moment or an event back, remove the varnish and make your corrections.
Everything Old – the shop where a great deal of my subjects come from – came by my studio for a chat about my work. They’ve always been really amazing supporters and take a keen interest in what I do. I have often talked to them about my paintings so it was nice to be able to sit down and talk to them.