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.
Here are a couple of close-up shots of me working on the details. The final stages of a painting are always the most satisfying. The camera I’m painting was found at Everything Old – one of my favourite places on planet earth.
These are the final two paintings of a dozen new ones for my May 21 – June 25 exhibition at the George Billis Gallery LA.
I’ve been doing several small studies with these clocks over the past few months. This past week was spent working up, larger on this and another piece. A few years ago I contemplated a career in graphic design. I spent time admiring typefaces and layout. Hence, the obsession with the clocks. It’s the numbers that really do it for me. That and the golden edge of the book.