Split Mask, 5'x5', mixed media on canvas. It is almost impossible to photograph either in daylight or with lights at night (the latter here) - the lines of the hair are dark like the shadows in the upper right, which are a charcoal grey-black, for instance. The photo is not too bad, but the painting is better weighted in reality. Yes, I've left a lot of canvas bare. It works.
Up top, a close-up.
Unfortunately, I had to spray the painting with a fine art fixative in my small apartment. It's too big to take outside easily, and there is snow, slush and salt everywhere. I opened the two small windows and had a fan. My chest hurt for quite awhile, but it's ok now. My pets hung out right by the open windows, wisely. The metal leaf is 85% copper and 15% zinc and will eventually oxidize unless sealed properly, which I have done since taking the photo. The sealant has evened out the lustre of the metal leaf to a flatter, brighter hue that, frankly, I'm not as in love with as the richer tones of the unsealed metal leaf. But, sealing it is very important, so that's that.
A coat of Gamvar tomorrow is the final stage. Oh, and two sides, which I am simply painting with gesso - I had picked up some 'Goldfinger' - a metallic substance in a tube that you can rub on frames to 'antique' them - to perhaps do the sides with, but decided that the hunk of gold with a little silver in the middle is like the luminist sun shining on a snowbank and ought to be the only gold in the painting.
Unfortunately, I had to spray the painting with a fine art fixative in my small apartment. It's too big to take outside easily, and there is snow, slush and salt everywhere. I opened the two small windows and had a fan. My chest hurt for quite awhile, but it's ok now. My pets hung out right by the open windows, wisely. The metal leaf is 85% copper and 15% zinc and will eventually oxidize unless sealed properly, which I have done since taking the photo. The sealant has evened out the lustre of the metal leaf to a flatter, brighter hue that, frankly, I'm not as in love with as the richer tones of the unsealed metal leaf. But, sealing it is very important, so that's that.
A coat of Gamvar tomorrow is the final stage. Oh, and two sides, which I am simply painting with gesso - I had picked up some 'Goldfinger' - a metallic substance in a tube that you can rub on frames to 'antique' them - to perhaps do the sides with, but decided that the hunk of gold with a little silver in the middle is like the luminist sun shining on a snowbank and ought to be the only gold in the painting.
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