Here’s the last of the Table for One paintings for now. For this one I did the whole painting in one pass using Burnt Sienna to give it more of a cohesive feel. If you’re going to do monotone, do monotone – not white, etc. I’ve always loved the vibe of these paintings but this one really seemed to say what I wanted it to say. Which does not happen often, so that was fun. I don’t think my skill level is to the point where I can translate this into color but it it feels great, at least, to realize it in this form. Got a bunch of new stuff starting this week.
This one goes back to No. 94 from 2010. I had picked it up again in 2011 and tried to do a 40″ x 30″ of the same basic composition but never finished the painting. I could not figure out what it was missing so I ended up painting it a number of times at the 8″ x 6″ size to try and understand it better. This one is really more of a value study but it felt like it clicked.
The goal was to abstract it to just the raw brush strokes and see if it could read without a lot of work. Most of what you’re looking at is the base black under-painting. I was super happy with the tops of the bottles as those are just a few squiggley lines.
I painted this one just like No. 90 where the whole canvas was black and I just added the lights in. It’s so disorienting to work that way but I think it was effective here. The whole act of painting the bottle involved five dabs of white paint – that’s it.
I’m totally down to the wire with 99 & 100. I’ve got them both started but there is still a ways to go so we’ll see what happens tomorrow.
No. 94 is from the same day at Trappeze but this time we’re looking at the whole place instead of zooming in on one beer. There is something about that booth in the middle of the afternoon that makes for a good image. Rank has a great shot from a year or so ago from the same exact place and I’ve even seen others on Flicker with about the same composition. Something about the light pouring in through the windows on the dark booth. It just works.
The actual dude in the bar that day was pretty frumpy so I had to give him a hair cut and put him in a little more shadow to make it mysterious. There were also some other people here and there but they were all removed (sounds ominous) in order to make it feel a little more quiet.
I was amazed at how much color was in this when essentially it’s a black and white painting. You have these pretty obvious diagonals of black and white that are cutting this in half but the rest of it is some pretty crazy color. Oranges, greens purples and a lot of light blues here and there. It felt good to use those colors in this kind of painting – unlike an outdoor landscape or a regular still life. Lots going on.
My favorite part of this one though is actually the wall behind the beer. If you’ve been to Trappeze you know that every wall has some kind of metallic paint. The trim is this green that I’ve only seen there. It was difficult to try and just decipher what green was and even harder to capture the light hitting it.
It makes me want to take a road trip.
Painting these has been a lot more fun than I even thought. I don’t know if it’s the colors in the glass or all the weird shapes but it’s easy to work with. Maybe it’s just because I like good beer. This one in particular is an Allagash on the windowsill. My favorite part of this one is seeing the reflection of the window in the top of the bottle. I’ve got a few more of these in the works.
The really fun part is that we are going to have a for-real show with the finished set at Trappeze sometime next year. It’s not for sale here but will be up during the show. That will be my first art show (sort-of) so it will be an experience.