It is impossible to ignore the Asian Aura of the gold gessoed paper I've used in my last few paintings. During the Edo Period in Japan, painting on gold screens was one form of art. I do not mean to compare my art to that level, but I did give myself permission to give a big nod to Asian art as I painted another Rogue Tree. I tried to keep several words/phrases in mind as I worked on this: tenatious, solitary, rooted, against the odds. If you read my post When Skills Meets Subject Matter you know that painting this lone tree on the Rogue River is a personal challenge. And here is the start.
I continued to play around with the gouache on the paper, finding a small craft foam roller a great help in smoothing out the paint.
At some point between these two images, I entirely washed off the tree leaves and shape. I had envisioned a dangling banner from the beginning of the painting, and last night, tried red with stamping of my Native American theme I'd used on the rock. Before giving it a chance to win me over, I declared it too distracting and painted over it with gold gesso.
In Asian art, a poem might be written on a painting, or sometimes the characters are not only the artist's signature, but also may include the name of the owner, or so I've been told.
In Asian art, a poem might be written on a painting, or sometimes the characters are not only the artist's signature, but also may include the name of the owner, or so I've been told.
For me, the banner is a spot to add calligraphy and more stamping and patterns. Before feeling this piece closer to finished, I played around with the background and softened some edges of the tree leaves. I intentionally left the trunk, branches and roots flat and in a daring color. What do you think?
1 comment:
I personally was happy from phase 1 to 4. They each have a different look and are each beautiful. How did you get the gold back after painting over it (3-4).?
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