Up early this Sunday morning. Worked on the next stage of this oil study on paper. I've made a start on the background adding a few colors all mixed with Raw Umber. Colors range from blues to green and muted reds to create an atmospheric negative space. In my paintings, the negative space or the background of a subject is as important as the subject. I like to make it alive so to speak. It's an energetic space that really has a presence in the whole scheme of the work. It's never a dead space for me. I see it as a space to be abstract or make marks in a more controlled manner if need be. Also some times the negative background needs to a trigger for aggressive brush strokes to set the tone of a painting. So in essence the backgrounds or foregrounds are fields to act on and are considered positive subjects just as important as the main hero of the work, in this case the trees. For me no space is ever a dead space.
For the foreground in this piece I'm considering an impure orange- red to balance the background. It seems arbitrary, but there is always a method to the madness. It's just a basic complementary color scheme that really is ingrained in all artists that understand the theory of color harmony. Is it a good thing ? I guess I can't unlearn what I know to be true to make an image work. It's not easy to become naive once you learn something. An untrained or inexperienced artist would probably put an other color scheme together and somehow make it work. But more often than not, not really know why it didn't work or why it did.
Artist living and working in Melbourne, Australia. Paintings, works on paper. Mostly creates monotypes and monoprints