The purpose of the vessel painting was to see how I could utilize a limited palette while creating a series of paintings. This is what has been a lifelong struggle, due to the fact that it's so easy to develop unconscious habits- settling into a specific color arrangement in one painting but wanting to change that in other subsequent paintings within the same series.
Essentially, I'm looking to find exciting possibilities -ways to arrange color differently while using a specific unchanging palette color set up. Usually in a series of paintings there'll be a few paintings that look too similar in the way the color is structured from a color value composition. Reds will normally be in a specific spot, yellows usually in the front as a 'lighting' effect... Color layout is every artist's game. My concerns are simple: What colors are dominant and are they interacting with each other differently than the other paintings in the series?
My concerns are simple: What colors are dominant and are they interacting with each other differently than the other paintings in the series?
In the painting, the form within the composition becomes the narrative. It is based on my memory of a ceramic vessel I made while I was studying under a teacher named Ishmael Soto (who passed a few years go). The figure stands within the content of space hence its automatic figuration. Often the intention of making something is more or less creating something to address a problem.
Producing painting with just a palette knife started in grad school as a way to minimize paint waste and mixing colors right where I wanted them to be. I love the rough texture -- it changes the refraction, quite different compared to a piece painted with a brush. A palette knife creates a 'bodied' sculptural element, layering cement on top of cement, tinted with heavy mass colors. The result is something seductive and earthy, tactility married with materiality.