12x16" 30X40cm acrylic on hardboard
Tuesday, September 8, 2009
Field and Woods
12x16" 30X40cm acrylic on hardboard
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I like these more abstracted landscapes -- I've done an number of them since I started posting my work. The intent of my work, however, is to evoke a mood or memory and I'm far from certain that this style serves that end. It may be simply too abstracted from reality to be effective. I'm hoping that with a better design, the paintings will spark the response I seek, but will have to see about that.
12x16" 30X40cm acrylic on hardboard
The day's work of an impressionist painter with some thoughts about the paintings and painting.
12x16" 30X40cm acrylic on hardboard
Hello!
Each day (Well, these days it is every month, when I think of it.) I work I plan to post photos of the painting or paintings I worked on -- the good, bad and unfinished -- along with some comments about the paintings or inspired by the process of painting. For comments on the work please go to my Deviantart gallery, link below.
You can view a more extensive collection of my recent work at
my deviantART gallery here:
http://litka.deviantart.com/gallery/
You can view a more extensive collection of my recent work at
my deviantART gallery here:
http://litka.deviantart.com/gallery/
What I'm Up To
I think artist’s statements are largely needless. Paintings speak for themselves. And yet, here I am set to rattle on about my approach to painting. Now, if you're of the same opinion as I claim to be, skip this and enjoy the paintings, but if you want a hint as to what I’m trying to do, here’s the words.
I approach painting via two different roads that arrive at the same place. The first is that I paint only “studies” or sketches. Back in the day artists painted quick studies to get the colors and features down to use as a guide to paint a finished studio painting. Funny thing is of the paintings I’ve seen together with their studies, I’ve always preferred the loose and spontaneous studies over the stiff and polished finished painting. For that reason I’ve chosen to paint only studies.
My second approach to painting is inspired by a quote from the writer, Raymond Chandler: “I guess maybe there are two types of writers, writers who write stories and writers who write writing.” He considered himself of one of the latter, as do I which is to say; writers who’s words are entertaining in and of themselves, independent of the story. Perhaps painters could be divided the same way: Painters who paint pictures and painters who paint paintings. While I don’t consider one type superior to the other, I aim to be a painter of paintings. I want to paint paintings that capture a moment, inspire or recall a memory or mood, but which, viewed longer or closer, or with one's glasses on, prove to be clearly paintings: paint brushed into shapes on a surface. That these mere shapes can create an impression they’re something else, for a moment, or at a distance is the independent interest I would like my paintings to possess, not because they realistically reproduce branches, or water or what ever, but because they don’t. What I don't want to paint is places or post card scenes, even though landscape are the medium which I use for my painting.
I approach painting via two different roads that arrive at the same place. The first is that I paint only “studies” or sketches. Back in the day artists painted quick studies to get the colors and features down to use as a guide to paint a finished studio painting. Funny thing is of the paintings I’ve seen together with their studies, I’ve always preferred the loose and spontaneous studies over the stiff and polished finished painting. For that reason I’ve chosen to paint only studies.
My second approach to painting is inspired by a quote from the writer, Raymond Chandler: “I guess maybe there are two types of writers, writers who write stories and writers who write writing.” He considered himself of one of the latter, as do I which is to say; writers who’s words are entertaining in and of themselves, independent of the story. Perhaps painters could be divided the same way: Painters who paint pictures and painters who paint paintings. While I don’t consider one type superior to the other, I aim to be a painter of paintings. I want to paint paintings that capture a moment, inspire or recall a memory or mood, but which, viewed longer or closer, or with one's glasses on, prove to be clearly paintings: paint brushed into shapes on a surface. That these mere shapes can create an impression they’re something else, for a moment, or at a distance is the independent interest I would like my paintings to possess, not because they realistically reproduce branches, or water or what ever, but because they don’t. What I don't want to paint is places or post card scenes, even though landscape are the medium which I use for my painting.
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2009
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September
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- An Early Autumn Saturday Along the Road to Bayport
- Uplands On The South Denboro Road
- Pond On The Harniss Road
- Nothing to see (again)
- Morning Along the South Trumet Road
- City Afternoon
- Approaching East Wellmouth
- The Week's Work
- Field in Fog
- This and That
- Sunset Along the Wellmouth Road
- Woods Along the Road to Harniss
- The Road to Mayport
- Words, Words, Words...
- Morning Fog
- The Road to Egesport
- Trees Along a Cart Track
- Field and Woods
- Little Doodles
- Willow Lagoon
- Morning Lane
- Trees and Field in the Mist
- Meadow on the Plum Creek Road
- Dunes on Long Sands Island
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September
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