I must be running a temperature! This is so not like my normal style. A poem fragment will be written into this when it's closer to finished. Probably into the white spaces in the towel. Don't think I'll do much but darken the torso when the paint is dry. I'm kind of liking the simplicity here. 'Untitled4,' 1st wash, nighttime shot (colours are a bit brighter than they appear here), 2013. 24" x 30", oil on stretched canvas.
Still not happy with it, but now I get where it is going.
Untitled2, 2nd wash with lettering, daylight photo, 2013, 24" x 30", ink and oils on stretched canvas.
As ever, the colour has faded out as the painting dries. So that has to be worked on. Probably, because of the poem fragment that I chose (from my Suite of Botticelli Venus Poems), which I had forgotten about but which my 'text edit' file reminded me of this morning, she will have to remain quite whitish, almost transparent.
Painting is like dreaming. You dream without really knowing where the images come from, or how they are created by your mind. Likewise with painting - you know you're doing it, but you don't often know what it's about while you are doing it. The painting arises as if from a dream.
I am only now dimly aware of what I am doing with this painting. It's too pretty. But then again, it is a kind of Circe image of the Botticelli Venus type, and that's not pretty at all.
This is the 2nd poempainting. It is most challenging. Doing the drawing took nigh of a day, and I rubbed out so much I gessoed in the figure and painted ochre into the surrounding before gessoing that. It has sat propped on the floor for days. Pressure and deadlines drove me to throw it on the floor and begin painting this evening. While it is only the first wash, that does set the direction of the painting. I hope as I continue to work on it over the next few days, I like what emerges better than I do presently.
Untitled2, 2nd wash, nighttime photo, 2013. 24" x 30" oil on stretched canvas.
I sat with the drawn canvas all day, didn't go out into the sunshine, didn't eat, refused to do anything until I painted, finally did early evening, actually enjoyed the brushstrokes at the beginning, painting is usually torment for me, an inner struggle, such terrible intensity mingled with insecurity that only finally finishing brings exhausted relief, but painting this was light and fun, until I began to see what I was doing, oh, I can't stand this painting, anaemic and whispy, everything I don't want this series to be, and so I must drag myself back to the canvas and throw dark passion into the paint. And if it doesn't produce something I can live with, into the dank dungeon of the basement with ye, canvas!
Untitled2, drawing, daytime photo, 2013. 24" x 30" graphite on stretched canvas.
Untitled2, drawing, nighttime photo, 2013. 24" x 30" graphite on stretched canvas.
If this painting had stayed the way it was when first painted, I wouldn't have touched it. But it faded out as it dried. It's still wet here - I finished it at 11pm last night - but the colour is much stronger.
Among other thoughts and associations, we are approaching Spring and she's my tulip lady.
Untitled1, 3rd wash, Brenda Clews, 24" x 30", oils on stretched canvas
I thought the colour would get washed out as it dried, but so far, it's holding. I painted last night and it does need a bit a work still, but I'm happy with this one.
Untitled3, 2nd wash, sunlight photo while still quite wet, 24" x 30", oils on stretched canvas
Untitled3, 1st wash, very wet, 24" x 30", oils on stretched canvas
Untitled1, 2 and 3, all 24" x 30", graphite, oils on stretched canvas
John left this message last February after he had read the manuscript and before he sent a small blurb. I've clearly edited this little clip. At the end I think he's saying something about 'the personal,' that despite the science and metaphysics these prose poems are lyrical and intimate.
What he ultimately sent, and which is in the book: ‘Brenda Clews offers us a pellucid voice that presents and interprets so clearly, it is almost as if light is shining through each one of the magnificent images in these mysterious poems.’
I've dedicated the book to him, along with a number of other beloved and inspiring people:
"for John Walter, his light, inspiring and guiding,
and for Luigi Bianchi, a ‘Professor of light,’ and for
Jeff, who re-appeared when I was writing these
poems and became a part of them, and, always, for
my two children, Adrian and Kyra, their resilience
and support, and for Luciano Iacobelli, with thanks"
You wouldn't think that so many brushes would be necessary to such a simple painting, huh?! Crazy how many get used. I intend to write part of a poem into this painting, so it's not finished. Also, this is all washes, and yet, and yet... it kind of works. What I don't want is to overwork it. 'Untitled,' 2nd wash, 24" x 30", oils on stretched canvas (daylight shot, colours good).
Poem fragment (from my book, still a manuscript with an excellent publisher currently considering it):
Do we fall into what dissembles us? A whirlpool, its swirling torpor, undressing us, naked against the onrush. Is it that we are always approaching what we can never give ourselves to?
2nd wash, 24" x 30", oils on stretched canvas (nighttime shot, not so good for whiteness or colour)
untitled, 1st wash, 24" x 30", oil on stretched canvas (taken in shade of sun, better colour)
The photos are not very good. The canvas where there isn't paint is white. But these are simply a tracking.
Beginning this piece was a challenge. The kitten was sleeping. I chanced putting a canvas down and doing a quick paint sketch. Then the dog walked right on it! Impossible!
I know what I'd like to do, and do hope it works out.
