Where to go…
I thought I might share the thought processes that accompanied this piece of work.
So here I am, in front of the blank piece of paper.
I use cheap paper of varying kinds to do my art work.
I hear a large exclamatory gasp from the art community – as they cringe at this unprofessional approach.
As a result of the poor quality paper – it means that sometimes I have to ‘sacrifice’ the luminosity enhancement that the paper shining through can give.
So to compensate when posting some of the pieces I have to add computer brightness. This enhancement means it can be a little untrue to the original (in this case there is little difference).
When starting to paint – I do not always wait for a subject or idea, but start to move the pen.
So in this case, I started to draw the face of the figure to the right.
Drawn with no pre-meditated idea of a naturalistic depiction, stylised rendition, or cartoon-like drawing, subject, narrative, or anything else.
As it turned out it became somewhat cartoonish. But then what is a cartoon?
Often my work combines a comglomerate of stylised genres. I like being this free.
So as I began to draw the face – I continued the body with no attempt whatsoever to get it ‘right’ -naturalistically.
In fact it was decidedly wrong (but I don’t bat an eyelid at this, as it is not my intention to get it right).
Proper anatomy goes out the window.
Then having finished the first figure – the ‘idea’ came to combine it with a large overweight gentleman, and of course, so large, that he needed help to negotiate the beach.
When the painting became a beach scene with rocks etc. there came a tension between naturalistic rendition and free-flowing fun.
Tension between drawing/painting things properly i.e. naturalistically and the – intuitive line balancing and shape arranging that I enjoy most.
The problem was – the figure was badly drawn if we think naturalistically.
Or comparatively – the surroundings were getting too naturalistic. And so I changed the figure in an attempt to correct it naturalistically.
I did so reluctantly feeling I had left myself no other option, unless I altered the whole painting to go in the opposite direction. But I could find no sense of direction, for this.
The figure changed and he now looked at the viewer, rather than walking away. Still drawn imperfectly, I nevertheless let it stand as is.
So the anatomy-less cartoonish figures and the semi-realistic surroundings combine to give a hybrid.
Surface unity with marks out of ten? Hmmm? – 7.
I prefer everything exaggerated so that the whole painting is rendered naturalistically out of step, but unified.
Or conversely naturalistically right and in step.
Instead – this is a ‘half-way house’, that, I hope, still might be working?