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Mary Twice, acrylic on 18 x 24 in (46 x 61 cm) completed Sept. 3, 2015

Mary Twice is finished, as far as I could take it, mouse over for detail.

It was time to renew my experiments with acrylic. On this approach I want to create an actual layer above the representation introducing a shallow low relief. What I learned is to use pure colour straight out of the jars mixed and very, very little of it in the gels and mediums.

It was a struggle to shift objectives. It took from July 28 until September 3 to complete Mary Twice in 12 sittings over 38 days. I was avoiding it and when I worked the tension was overpowering. Perhaps this is the reason I make almost every series different? For the tension and mystery? I am pushing myself and perhaps pulling the art along? I've noticed in previous series that over the year of work it starts experimental and evolves as a developing set of techniques which becomes progressively more rigid and formal; a potential signature style.

Is that what I am searching for? I doubt it, I've advanced many technical suites to the level of a craft. I must be searching for the unknown.

The glaze colours will slowly fade because they are mixed so thinly and become a long term animation. Mary Twice will metamorphose into a variation of this, with progressively more transparent layers of clear textures until...

the last layers of impasto applications which are painted, as usual, with care for permanence reappear. Perhaps I am faking a destruction of my own work?

I am a nomad painter, I cannot stay in the same place. I will come back here someday with more understanding and, maybe, even a bit more wisdom.

The mistake I made with Mary Twice was mixing one of the transparent colours with white. White and black do not fade. Aesthetically I don't like the pastel colour either, it is too strong and overpowers the under painting. My idea is to apply colours in a graphic manor allowing them to interact and tint one another. How to achieve that aesthetically is a mystery.

Maybe I am destroying what I've accomplished.

Bill Quinn, acrylic on 18 x 24 in (46 x 61 cm) - unfinished

With portrait of Bill Quinn I have used the same textural quality on different layers of the relief textures. One of the powerful conventions of aesthetic is repetition. Before this experiment I thought of repetitions and rhythms on the surface side by side, over and under. These repletions are repeated in an objective field of depth one on top of the other.

Mouse over.

So far, it is working.

In this painting I want to return to variations of gloss beginning with the black passage which I am going to work with matt gels and mediums.

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