Do you remember a while back I wrote a blog on the work of Joan Mitchell, a new discovery for me at the time? If you missed it or want to reread it, just click here. Once I had discovered her work, there was no going back. And so, at the time, I started a pastel experiment – another in my series all about taking risks.
When one is in the midst of the work itself, it’s very difficult to detach oneself from it, to be able to ‘see’ the painting as it really is, to consider it worthy. Sometimes it needs time and, in my case, comments of appreciation by those who have seen it sitting in my studio. So bravely, I show this experiment to you. If you’re familiar with my pastel work, you know this is really pushing boundaries!
Here is the progression.
And to end, a couple of quotes about growth for contemplation:
All growth is a leap in the dark, a spontaneous, unpremeditated act without benefit of experience.
~ Henry Miller (1891-1980)
Become who you are.
~ Friedrich Nietzsche (1844-1900)
I’d love to know what you think of this piece and this new direction.
I will certainly continue to be inspired by the work of Joan Mitchell. And so we’ll see what tomorrow brings!
Thanks for sharing my journey,
~ Gail
PS. And just for fun (and totally unrelated!), I share a video sent to me by my good friend Sandy.
8 thoughts on “Inspired by the work of Joan Mitchell”
I really like your painting. It is very suggestive and the charcoal scribble adds a certain something to it. They always say that the eye should be able to travel through the painting and this is happening to mine, actually to both of my eyes! Would you say too that painting in an abstract way frees you? I don’t find that it is easier to do so than painting in a representational style but I think that times that it makes me happier. How do you feel about it?
Karin, you have it exactly! It does free me up but I am also partially terrified of as well as exhilarated by the unknown. So yes, not easier but where my soul sometimes wants to be.
I am so glad to hear that your eyes move around the pastel. I worked hard to achieve that pathway. So yay!
I think the whole charcoal scribbling thing is becoming one of my signature marks in my pastel paintings. I just love using charcoal and so this is a way to incorporate it into my work.
I really enjoyed your experiment because I struggle with the white of the Wallis paper also. Do you use the professional grade or the museum grade Wallis paper, and do you use any kind of fixatives in your work. I have two 9 x 12 professional Wallis papers that I gave a warm watercolor underpainting which subsequently buckled, even though I tried not to overdo the water, and they are being pressed flat underneath a half-inch piece of oak board right now. I wonder if I should buy only the museum grade paper for this type of underpainting.
Your “experiment” actually reveals how your years of education and experience allows you to intuitively juxtapose warm and cool colors in just the right way to create a very lovely and interesting painting. Color is my favorite subject, so no wonder I find your paintings so amazing! I am in a race to be as good as you!!
I am also trying to learn to frame my own work and have invested in some expensive equipment, like a Logan 550-1 mat board cutter, etc., that will be arriving soon. I would love learning any tips you might know about framing pastels, from a materials list to spacers, and assembling the framing materials so the art will not be damaged in the process. I’m making a huge assumption that you frame some of your own work, but you’re probably way beyond that!
Thanks for all you do!
Wow – long comment Debbie. That’s just great. First off, I am glad you enjoyed my ‘experiment!” We evidently both have a love of colour 🙂
To your question about Wallis paper – I use both professional and museum grade. If I am working on anything bigger than about 6 x 6 in (the size I use for my demo videos) then I have them drymounted which means no buckling when applying water media. That’s the one thing negative about Wallis I find – its tendency to curl once watercolour has been applied (hence the reason I drymount). I believe it is available on boards now.
Good for you going the self-framing route. I have never had the space, the equipment or the desire to do my own framing. So I’m afraid I cannot help much. I do know my framer mounts the pastel in little plastic corners (so the piece itself is never taped) and I also have her cut a reverse bevel. She sometimes uses a mat or thin foamcore to create a space between the pastel and the outer mat. Debbie, that’s about all the tips I can offer. Hope that helps.
Thanks for sending out this series of pictures. I have been painting in pastels for 3 years now, mostly landscapes. Over the past year I have been studying and experimenting with abstracts, mostly with acrylics. I have tried a few timid experiments at abstracts in pastel. Your samples are very encouraging.
Marvyn, because this is a new direction for me your compliment means that much more to me. I am so glad I have given you encouragement.
Very wonderful and inspiring, Gail!
Casey, thanks so much!!! Means a lot to hear from you.