Painting 3–Self Reflection

This is the final of painting 3. Click here to see it in process

As can bee seen from the process post, the colors changed dramatically from what I’ve done in the last several sessions.  “Risk” is something that definitely not on my name tag. Maybe because I was afraid of it, or maybe it’s just my nature to stay safe. I loved how precious and precised it was, and enjoy the status which it is in now.

I was very uncomfortable when I overlaped the four big color palette on my “precious” piece, and felt that my heart was bleeding. And that is why I left the yellow pigment dripping down at the right side. The very first color I worked on in terms of “risk” is red, and the more I put on my painting, the more exciting I get. And when I finished the whole picture, suddenly I relieved–Finally I can breath. I had many details in this piece, one shadow may have several elements in it. These overlaping colors may have covered the things that I’ve been obesesed about, but turned it into a painting that’s more worth of looking at. I left one object of its original color in each palette, and hoped to form some contrast in colors. It seems that objects with their original color came forward to the viewer.

If I’d known about the “risk” and the materials we would used, I would loosen my mind and let go of my painting in a much more free way. And eventaully my painting could be very different from this piece. I secured myself only because I was informed that this is only about direct observation. I believe that I still have the crazy part of mind on art, and I’m excited to developed it. Overall, this project dragged me deep in thoughts, and really thought about what I can change to inprove myself, and what I can do to make my works more than just “precious paintings”.



~ by xilain on October 12, 2011.

9 Responses to “Painting 3–Self Reflection”

  1. lexi, i think the risk you took in adding the color block layer is absolutely wonderful. the combination of the geometric effect of that layer and the meticulous, naturalistic rendering of the still life creates a strong paradox. looking at this work, i also found the edges of the color blocks, where the color drips and bleeds, very visually appealing. reading about how you let that happen to reflect the way you felt about that decision, i’m even more impressed by them–they are a beautiful risk!
    i think the controlled nature of every other mark you made is probably the most problematic element of your piece.

  2. Lexi, I remember viewing your painting prior to you blocking your painting into these four color palettes. I thought it was simply precious, soft, delicate, and lovely. The next time I saw it was when I saw that you had blocked it out. I enjoyed it so much more with the color blocks. It no longer was just a precious painting, but has a soft spunk to it. Which is divine! It’s not expected but still so carefully planned out.
    I also enjoy how some of the objects seem to pop out of the color blocks, creating more than just a layer of color being over the painting but it weaving in and out. Admirable to say the least.
    I find painting in detail to be frustrating and very little joy comes from it for me, thought I force myself to do it along with my more abstract work, I have a huge respect for people who enjoy creating rendered paintings as such.
    I look forward to see what your next project entails.

  3. I really love the four colors and I am glad you took that risk. I absolutely love the drip in the green quadrant and how the colors have spots where they melt together. I think it would be really interesting if this painting were horizontal. I really like the delicacy and precision of the fabric but I think if the bottom foot were shortened a little it could be landscape and be able to see more of the detail in the other subjects. I think its the quadrants that make me want to zoom in because there is so much going on up top versus the bottom but I still want the fabric to be a major part of the painting. Its a really intriguing painting. Great job, Lexi! 🙂

  4. The color blocks really add to the composition as well as the palette and riskiness of this work.

  5. I totally agree with Victoria and her “soft spunk” comment. The piece only got better with the color blocks.
    Your detail and depth is incredible. Bravo!
    The only thing you should work on is taking risk from the beginning. And don’t plan it! You can’t plan risk. I think you’ll surprise yourself and enjoy the process.

  6. Lexi, I know how hard it was for you to let go and I’m glad you did. Your piece was very precise and confined. I would just like to see more color.

  7. This painting was transformed by the the 4 squares of color! Your choice to let some of the objects “peek through” was well made along with the drips of your “bleeding heart”. I completely felt your pain when you made the decision but I was excited for you because I knew you were about to embark on an important journey with your work! EXCITEMENT! When you were pleased with the results I was so happy for you! The color makes the shadows underneath have more depth and the choices in hue and placement are spot on for unifying the composition. Adding some “ghost” shapes at the bottom of the piece, maybe on the shelf, might unify the bottom to the rest.

  8. I like the subtle boldness you brought into your painting with the big blocks of color. I know that was a big risk for your, but I definitely think it works! It is a quite boldness and not really in your face, It reflects you and I love it!

  9. Lexi:
    Interesting how much (positive) feedback you’ve gotten from your peers for adding the color blocks. Essentially I think the result of that “risk” was that it takes your painting away from a work reliant on formuleic success, and turns it into something more mysterious. We “know” good painting and we can say “Oh, Lexi, you’re so good at painting” but when you go somewhere else with it, we can no longer stick it into “good painting” category–but instead we get to have an adventure with it. In my mind you doing that weird thing to it, makes it so that YOU (the painter) get to have a mysterious adventure with it too. So, instead of just following the rules for a successful work, you instead are breaking rules, and making a new way. Letting your intuition and your hands and body lead you. Where? Who knows! The idea is that you are making the painting for you, not for us. We get to see YOU through the work, not just a reflection of what we think is good.

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