Kermit’s lament, “It’s not easy being green” with a slight adjustment, could be mine. "It's not easy painting green." When, in addition to French ultramarine and cerulean, to work with manganese? When the potentially annihilating, yet at times necessary cobalt? But wait a minute. I'm getting ahead of myself. WIP, June 2015-16 began on a glorious early summer evening a year ago this past June.
While my husband Gerry mows and Mela, our Retriever/Poodle mix, follows behind, I decide to clean my studio, a strategy I sometimes employ that gets me working after a break. With my back to the north-facing window, I am sweeping the floor when the light through the branches of the trees from the west window catches my eye. Sounds corny I know, but it’s true. There are moments in a practice, at least in my practice, where the world unexpectedly intervenes, and in that moment there is the choice to act or ignore. Instantly I trade the broom for a brush, the dusty floor for a newly stretched and Gesso primed canvas I prepared. Three hours later I leave the studio with the intention of returning the next day. That was not to be. It rains for the next three weeks! For the rest of the story, take a look at the link to The Artful Mind Artzine at the end of this post, or go to:
For now, the point of this blog entry are the challenges I face working with greens, which is itself a misnomer. To work with greens is to work with reds. Cad reds, red oranges, red violets...such as those found in Giallo. Eight years separate Giallo and WIP June 2015-16, and while the palette is similar, I see how the intervening years have moved my painting practice in expression and in my handling of greens. The detail from June 2015-16 illustrates this below.
My intention is to continue to bring up the reds. I've returned June 2016-17 to the same spot on my studio wall as last year. Something of an experiment, this is the first time I've worked on a painting in the same month over three years. I'm not so concerned with verisimilitude so much as experiencing the aesthetic and psychic effects of it in my studio over the course of another year. We shall see...