"For all things quickly fade and turn to fable, and quickly, too, utter oblivion covers them like sand." Marcus Aurelius
Monday, March 31, 2008
Riverbank, Lyndale Drive No.1 oil 16.5 x 19.8 cm (6.5" x 7.75")
The snow is slowly disappearing in Winnipeg. We've yet to have any really warm days.
The scan of the painting isn't entirely accurate. The scanner I'm using doesn't seem to pick up red very well. There are a number of dark red weeds in the original painting which the scanner didn't catch at all.
Night Lights, North Dakota oil 16.5 x 19.8 cm (6.5" x 7.75")■
This is an invention based on a something I remember from one night last fall. I was driving back to Winnipeg from Grand Forks, North Dakota. It was a foggy night. Things were blurred and there were lights in the distance. This painting reminds me of that night, and similar nights.
Masked Model ink, charcoal, and pastel 45.7 x 30.5 cm (18" x 12")
I struggled with this drawing. I made several false starts using charcoal, and then switched to pen and ink to do the basic drawing. Pen and ink can force you to concentrate more on what you are doing, since you know that mistakes are not erasable. However, ink does not necessarily go well with charcoal and pastel, and in this case, when the drawing was sprayed with fixative, the ink lines became more dominant, adding an unintended element to the drawing. This is particularly evident in the area around the eyes, which after spraying took on its current mask-like appearance.
I'm tempted to continue working on this drawing. It would change with more work, but it would not likely improve.
M. graphite, ink, and pastel 45.7 x 30.5 cm (18" x 12")
M. is a great model. No one stays as still.
I seem to have forgotten the bellybutton in this drawing. By the way, would the absence of a bellybutton be an improvement or not? And why do some people have bellybuttons, and other people have navels? Finally, why do some people write bellybutton as one word, while others write it as two, belly button?
For this drawing the model was playing dead. Shot while wearing only a fur boa, brown sleeves, and some black lace, she fell back on her fur coat, where she lay until the drawing session was over and she decided to come back to life.
There's the beginning of a novel here, a bad novel. But at least we've got a cover painting.
Uncomfortable Pose pastel 45.7 x 22.9 cm (18" x 12")
The model felt that this pose wasn't too bad, while to me it looked uncomfortable. In any case she persevered and held the pose throughout the evening.
It was very cold in the studio last Thursday when this drawing was done. Another artist and myself were wearing toques and a couple of sweaters each. We kept asking the model if she was cold, and she kept telling us that she was fine. She did have a parabolic heater at her feet, but I couldn't see how she could not be cold. The artists offered to do the session with her clothed. She declined. In the end, the heat, like the pose, was the model's decision. Thank God for models.
White Legs ink and pastel 30.5 x 45.7 cm (12" x 18")
This drawing was done with inexpensive pastels, so that it has less colour density and vibrancy than my other recent drawings, which have been done with better quality pastels. Colour, however, isn't everything.
The drawing was sprayed with a fixative. This brought out the underlying ink drawing, and has given the drawing a slightly harder edge than it had before it was sprayed.
The model has an aversion to sunlight, hence her pale skin.
This pose left the model with a stiff neck, hence the title.
Any resemblance between this drawing and David's, The Death of Marat, is purely coincidental (although it's possible that the model, because of the pain he was experiencing, may have felt like he was re-enacting the scene).