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It is difficult to see this last painting of Sixty Forty as experimental but, it is. "Stepping Stones" is an experiment with the underlying texture on which I paint. There were four distinct texture fields in the preparation of the panel roughly laid down in the approximate perspective layering of the composition. My hypothesis was, the distance appears blurred and rough and the foreground seems smooth sharp and detailed. Details are not possible on a rough surface and it is difficult to paint a blur on a smooth surface, so i roughly roughed textures in, more or less, the appropriate regions of the panel.


Smooth is a texture.





Textures are not easily photographed in a raw form before enhancement by the final coloured textural variations. These photographs of underlying textures are in about the same places they actually are on the panel.

1. Polymer with marble dust applied with a natural sponge.
2. Course nepheline in polymer applied with a trowel.
3. Polymer with marble dust applied with a synthetic sponge roller.
4. Marble dust pigmented polymer applied with a straight edge trowel.

The texture I had the most fun painting was the nepheline mix.

Having completed six paintings of the Sixty Forty sub series I am beginning to imagine that I could be working on an old traditional series depicting "The Four Seasons". It has musical connotations like Vivaldi's The Four Seasons or,  Frankie Valli & The Four Seasons. Visual artists like one of Alphonse Mucha's set of The Four Seasons and a set of lino prints,The Four Seasons by Sheri La Pierre in my own collection; have also used the theme. The subject is an archetype. I seek out archetypes and enjoy applying myself to them.

Now, with the help of a halogen spotlight glancing over the small 12 x18 (30 x 46 cm) surface, I was able to photograph the panel I am working on, which is still milky wet. When the drying and curing process is completed the texture will almost be transparent as the four texture reproductions above.

mouse over zoom

Since this painting is to be a night scene... black is the base colour. A fuzzy winter nocturne with the softness of the season.
This process of applying my techniques to serve the subject is what I would call impression. This could be the breakthrough I have been searching for because I am expressing my own feelings for the winter scene of La Cathédrale Notre-Dame in Ottawa while also portraying how it is (or was or could be)... "expresso-impressure".
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