layer revisions

One of the realizations that I had during the workshop in Wisconsin last week was that each layer of a given panel should be created as though it were the final layer. That is, each should be a complete composition, rendered with care and worked (revised, as in Free play) until it stands on its own, at least as a complete thought. In the couple of days that I have been home, I've gotten out to the studio to revisit this summer's partially worked panels that are hanging on the walls.  (My panels from Mineral Point are on their way home via UPS.) Most have only a couple of lower layers on them, which are not nearly random enough, having been worked too hard as cliff references. So I have spent happy hours messing them up, but with attention and care.  The image here is the current iteration of Houses (see my post of August 21st).

Next will come the harder work of settling into the layers of reference to aerial and landscape conceptions of the land here.  I've collected a couple of topo maps and some aerial photographs for inspiration. I also plan to do some plein air painting with cold wax as the medium, emphasizing matching paint color with what I see, in order to develop some samples of local color reference. It will also be a good exercise in abstract composition, since I intend to deliberately not render actual landscapes. Both aspects of the plein air work will, I hope, nourish the abstract work in studio.

Another step I have taken since arriving home from Wisconsin is to schedule actual blocks of studio time on my calendar. Now, instead of thinking, "I hope I can get out to the studio today," I can see that I will spend the afternoon there. My friend Phyllis Lasche suggested this, and I can already see that it is a great idea. (Thanks, Phyllis!)