“Turquoise Green Angel with a Face of Yellow and a Mask of Blue” – brainstorming lighting and framing

This morning I got distracted  by my old photos I took with my phone. I am still battling this yellow color on the turquoise green painting. I looked at how much this painting has changed and realized, all these changes were needed and my gut feeling was right when it didn’t let me stop a few times before.

One of the early sketches of The Turquoise Green Angel. The yellow was way more permanent at the beginning.

I am irritated by this yellow, so it means there are going to be some changes. I need to put this painting aside for now and work on another canvas.

I need to remove the tension from this painting to be able to grasp what needs to be done next. I know I am close to finishing it, but I am just not satisfied by the results. The painting is all good and probably many would already like it in the state it is right now, but for some reason I have a problem with how I use this yellow.

I love these screaming/singing red heads inside of the kneeling angel’s head, but probably they are the ones that are throwing of the color scheme for me. They bring so much life to the painting that it would be strange to say that I’d rather leave that yellow where it is and sacrifice the heads.

The yellow in question is completely removed from the painting before the canvas is put away.

First of all nothing needs to be sacrificed and second of all introducing another color always brings some challenges. I know that I am probably too much into my head about this painting right now. I need to relax and look at it after some time has passed.

Another canvas is going to bring all kinds of other challenges, so the tension will be removed from this painting. Who knows how fast or slow I am going to finish the canvas I am starting now.

A rough sketch of the next painting.

Another thing I kept thinking about today was the lighting of the paintings and their framing. I would like to build specific lights which also would act as some kind of extensions of the paintings. With this idea comes a few other ones about how the paintings could be “framed.”

When I say “framed” it doesn’t mean I am talking about the usual framing the way paintings are framed in museums, galleries and other places. Light is my framing. What might appear with the light are some installation details like, for example, a draped light curtain on a rod sticking out of the wall. The curtain would move as if blown by the wind. It would create a certain atmosphere. A designed light would have a graphic connection with a painting and its lines.

Light curtains and diffused light cast shadows on The Turquoise Green Angel.

A small painting raised away from the wall could hide a light behind it which would throw a shadow in a certain way that it would resemble a crown of some sorts if that crown is needed.

Or there would be a metal wire structure under the canvas weaved and connected to the painting in such a way that the shadows created by the light would give us an illusion of the lines extending out of the painting. The “framing” this way would create a certain multidimensional feel.

When you are a visual artist, specifically a painter, you are playing with colors, space, different materials and all that involve painting a painting. How an actual canvas, which is flat, could be arranged in space in such a way that the lines painted on it become some kind of extensions created by light and shadows? That is what keeps my mind going.

It is amazing how this understanding comes to me just by observing my paintings in light and how they interact with the surroundings particularly with my room and the outside world which changes every day. I love this stuff and it gets me excited.

Originally written on 10-8-17

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