Burlesque

I am not one to accumulate clutter but had a few boxes to go through before moving my studio back in November. I came across a really nice digital pocket camera. There were actually still some store/factory stickers on it which excitedly proclaimed how many mega pixels it was. Impressive for then perhaps but the average cellphone of even five years ago had it beat in the mega pixel & zoom department.

Everyone has a camera now via their phone and i can not remember the last time anyone i know packed a separate camera in their bag when going on the road. Speaking in the most general terms, there is often at best a generic beauty to the better taken photos. Rarely is a photographer’s voice discernible.

This is because the better photos, the heavy lifting is done by either the equipment or location. There are to be sure some contemporary photographers with a worked for voice but they suffer from the fact that digital equipment has made them easy to parrot in much same way that phones now have apps to make ones photos look like an Andy Warhol (et al ) painting.

Cameras have effected how people look at other art too. Now they look at it as if a camera themselves.  A camera takes in all it sees in one fell swoop. It is a disinterested eye devouring an entire scene without chewing, the interest only existing via the photographer’s eye. This inherently lends an emotional barrier to the medium.

With painting they eye can take it in, nibbling in small incriminates, beginning at any point on the canvas.  With the passage of time new things can be noticed. Paintings have the ability to grow with the viewer. Living right, with evolution, none of us are the same person today that we were a year ago. A painting can take on new or added meanings for the viewer.

When the subject or viewers look at one of my pieces, the first thing noticed or commented upon always differs from person to person. The joy of viewing a painting is a very individual act regardless of how well known a piece may be.

I do not strictly do portraits but it is one of the things in life which gives me the greatest pleasure. Once an artist finds and perfects their voice there is the danger of lapsing into mere mannerism. It is one of my prime motivations in constantly mixing it up with what equipment I use.

For this portrait, i knew that I could execute it in such a way that it would please me. In my head i saw the correct background color to go with etc. I am very fortunate that with some of my work i have the luxury of no deadline and freedom to experiment. It is crazy for me to not do so, as in worst case scenario, I just throw a failed attempt away.

I realized aside from some minor flourishes of sunlight upon a cheek I had never done a piece show effects of lights on a subject. My experiment was to portray this effect and ignore what i knew to be all the “right” choices in regards to color.

The subject is under colored lights of a club. Hair dyed by the lights which also play upon the skin in splashes. I choose purples which aside from minor flourishes i rarely work with.

The paper is mutli media paper. This style paper has very different properties than the French cotton that I use. It requires a different technique to achieve the volume and mass effects that I desire. Multi media paper from brand to brand also possesses different properties from one another. When dealing with the different brands, i would not say that there is a “best” but I have found some work better with different colors than others due to pigment properties.

This is 98 lb which makes me work a little slower while layers dry, without the wait seeming interminable. I was very pleased with the end result, achieving all the effects I wanted.

9×12 Watercolor & multi media paper 98lb

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