Our worlds change. Our lives change. Our memories change. There are no constants. Painting can reflect and exploit opportunities revealed in changing appearances. The composer revisits his theme but, invests it with change to hold our attention. Redundancy does not sustain attention. Change does. But change can only be recognized in the context of repetition. Change offers contrast and, we attend to contrast. We find contrast when it interrupts our expectation. Expectation is born out of patterns of regularity. My examples here demonstrate varying effects discovered by welcoming change.
I begin as I often do on woodland walk. This December has brought days of fog to my area. As I crossed the West Branch of the Saugatuck River in the Stonebridge nature preserve the fog occasionally parted to reveal small pictures, vignettes. The photo in example 1 exemplifies one of those vignettes. I re-composed and altered the image in Photo Elements discovering another image (example 2). Here begins the variations on the theme. My theme rests upon the notion of a window on blurred space and, the contradictory feeling that greenery could thrive here in this cold December riparian woodland.
Example 1. Initial photo.
Example 2. Altered photo.
My experiment proceeded with the idea I could riff on an image and follow my riffing through an evolving series. All of the series would occur on a single surface (brushed silver anodized aluminum, 24×24). Whenever I paused to enjoy a stage in the metamorphosis I stopped to photograph it. Each pause occurred to me as an independently engaging image. Sometimes the image took a less successful turn and in others it appeared more engaging. Examples three, four, five and six present those stopping points. Image six is where the image has come to rest to date.
Example 3. First version, more monochromatic.
Example 4. Second Version, more delineation.
Example 5. Third Version, more mystery.
Example 6. Fourth Version, more layered.
I tried this process again but, on three different 48×48 panels. Each painting metamorphosed from a previous incarnation. Here are the three different images as they appear to date. Their destiny is uncertain.
Example 7. Water Circles 1.
Example 8. Water Circles 2.
Example 9. Water Circles 3.
Mona Davis
Hej, thank you for sharing your way. It is such inspiration. It is like you have taken me on a new path of making extra ordinary art. True nature in someway. I cannot explain, I just love it. I wonder about the brushed silver anodized aluminum, do you get it ordered, preparing it yourself? Why?
I wish you a great holiday season.
David dunlop
Mona, I buy my anodized aluminum from Hart Supply in Hingham,Mass. They ship to anywhere in New England. If you live elsewhere then try Laminators Inc. in New Jersey. You do not need to prepare the surface for oils.
Artists have long sought a smooth fast surface. 16th and 17th century artists from Holland to To Italy painted on glass-smooth wood panels and small copper plates.
Best, David
Mona Davis
Oh, I thought some “tooth” makes the paint stay to the surface better.
Thank you for your quick answer.
So no preparation at all? just start painting?
Sorry for the stupid Questions.
I live in north Sweden by the way. But I fell in love with your series while living in Tx. It has really helped me but then to dare and let go is another thing…smile
Lucy Tyson
David, I love your water circles in examples, 7,8, and 9 they are similar in form but the effects are so different. It reminds me of Monet’s hay stacks, the way he had different effects depending on the time of day and change in light. In # 7, has beautiful gold, yellow and orange-red colors with the areas of dark that alludes to the depth of water underneath. In #8, I see less of the golds and yellows which I attribute to what looks like fog rolling in from the background and foreground as the view is zoomed out so we can see further back. I also love the deeper red in the left foreground as it invites us like a “pointer” into the painting. In #9, we see more gold again with those beautiful reflections of gold/yellow that “pop” in the water circles that also invite us in. To my eye it looks like you used a lilac/purple glaze in the background that floats above the water circle which as a compliment to the gold/yellow, which is so beautiful. Thank you David, I really enjoy your blog, I am a fan of your work. I purchased your season 2 DVD’s for artists, can’t wait till they get here, they are a gift to myself for Christmas. Happy Holidays to you and your family.
David dunlop
Lucy, Thank you for your thoughts. I appreciate your support.
David
Linda Boisvert DeStefanis
What a great year of experimenting and learning about your wonderful and exciting ways to paint on smooth surfaces like aluminum. I felt the need to ‘grow’ this year and, after hearing you demo, viewing your website and seeing one of your shows in Madison, I felt I would have to take a class from you. So, thank you for 2 terrific classes so far. I plan on signing up for spring… and would love to go to Maine on your trip. It was a pleasure.
You have enlightened me and helped me take another step forward for my art.
I will continue to follow your blog and experiment on my own until then. Happy Holidays too!
Sincerely,
Linda DeStefanis
Bobbi Pratte
I love these paintings David. Is the aluminum that you are painting on the same thing as DiBond? I have some DiBond sheets here in the studio but I have been hesitant to use it. thanks, Bobbi Pratte