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Acrylic on museum board - 16-1/8 in. x 11-5/8 in.
Friday 3/8/1991 - Collection of the Artist
Acrylic on museum board - 16-1/8 in. x 11-5/8 in.
Wednesday 3/6/1991 - Private Collection
Acrylic on museum board - 13-1/2 in. x 14-3/4 in.
Friday 3/8/1991 - Collection of the Artist
Broken Canvas No. 11
Acrylic on wood, canvas and lace - 36 in. x 30 in.
Saturday 2/4/1991 - Private Collection
Acrylic on plywood - 12-1/8 in. x 9 in.
Monday 3/18/1991 - Collection of the Artist
Acrylic on plywood - 7-1/4 in. x 18 in.
Tuesday 3/19/1991 - Collection of the Artist
I chose to limit my use of color on this painting, in an effort to have the complexity of the composition appear smoother without the juxtaposition of different colors. I used the same color palette on Painting 105 before it. I appreciate how a single overall color, albeit in different shades, can quiet the eye of the viewer. Painting 106 is another painting that just says "YES."
Broken Canvas No. 12
Acrylic on canvas and wood - 36 in. x 36 in.
Tuesday 7/2/1991 - Private Collection
All the Broken Canvases I made through Painting 107 above were challenging but not frustrating to make, compared to the trouble I experienced with the as yet to be made Painting 117 - Broken Canvas No. 13. As I review the earlier Broken Canvases during the making of this website, I am reminded of how I constructed and painted each one of them. Each one presented more opportunities than troubles, and I was able to achieve the results I wanted without any determined fight, when compared to Painting 117.
The Artist, Olga and Child is one of two canvases I stretched over the backside of the stretcher bars, allowing the wood frame to be part of the composition and also allowing me to stretch strips of canvas over the top to float above the main canvas. I did all of this because I had never done it before and the idea intrigued me just as much as the soon to be revealed subject matter. As in Painting 096 - Painter With Child, the likeness of some kind of child-being had developed quite unconsciously in Painting 107, and remained somewhat abstracted. As with most of my paintings, I wasn't focused on pure or accurate representation of anything or anyone, so even the title suggesting the presence of a "child" was relatively unconscious. I was mostly interested in painting shapes and colors that then, with further painting, would slowly reveal themselves as an object or a thing that I could sort of recognize and perhaps name. I tended towards not wanting to identify or name most of what showed up in my paintings. Some things, or indeed non-things, are better left unidentified.
with the one and only photographer Todd DellaBella.
Acrylic on museum board with impressions - 9-1/4 in. x 13-3/8 in.
Thursday 3/21/91 - Collection of the Artist
Acrylic on museum board - 10-1/2 in. x 18 in.
Tuesday 3/26/1991 - Private Collection
Acrylic on museum board - 18-1/2 in. x 7-5/8 in.
Saturday 3/28/1991 - Private Collection
One of the neat aspects of painting with acrylic paints is that as I worked mixing paint colors on my smooth marble palette, the leftover unused paint would eventually dry and as I added more fresh paint and continued painting, it would also eventually dry and blend into the dried paint underneath it. At the end of the day or night of painting, I would be left with this wonderful concoction of dried leftover paint that I could then easily peel up off the marble slab. As paint is paint, I decided to incorporate some pieces of this dried paint into some of my compositions, as shown with Portrait of the Wondrous O where her face and head are actually a random piece of dried palette paint. Of course the dried paint made the painting a bit of a collage and added a bit of three-dimensional shape to the overall work. I considered these additions of dried paint both fun and extremely convenient, as if they were a random abstract gift of the Universe.
