Autumn Meadow Morning

Thursday, October 15, 2009

Autumn Meadow Morning

This is my morning's painting. I decided to go with the flow and paint another tree and field painting, though this time I used the thinner, drier, more pastel approach similar to "A pond in a Mist" rather than the thinker technique of my usual 'Friday paintings' . I find I really have an aversion to painting straight 'set piece scenes'. That is to say paintings were all the elements, trees, buildings, people, trains, etc are plunked into their places to create a realistic setting or scene. For example, tossing in a deer or two in this painting. (Not that you could tell my deer from my cows or sheep.) Maybe I've done enough of those, or maybe this is just a passing fancy, but I don't feel like doing them. Expect more of these more abstracted landscapes.

18x24" 45x60 cm acrylic on hardboard

Below is my afternoon painting. I decided to keep trying to work on an urban version of my vague, foggy paintings. Luckily I decided to do so on a small scale, because this is as close as I could get to an urban setting. It turned out a bit gloomy, but it was a rainy, gloomy day, so it is in keeping with the afternoon's feeling.

The Lagoon on a Gloomy Afternoon

8x12" 20x30cm acrylic on hardboard

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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.

The Day's Work - Paintings of C. Litka

Thursday, October 15, 2009