“The Hooker’s Green Hue Dog” now shows me the face of Čiurlionis? + “The Interrupted Tea Party” – a party of lines and solid colors + to oil or not to oil

It is becoming quite “funny” how my Permanent Hooker’s Green Hue Dog with a Mask and a White Helmet (later The Hooker’s Green Hue Dog) is freaking me out when my blind spot hits it. Every time I look away from the painting I see a portrait of Nietzsche (which you already know) or Čiurlionis. Čiurlionis is probably still one of the most influential artists in Lithuania. No wonder he is engraved in my mind. If you are not familiar with Čiurlionis’ work, here is a link: http://ciurlionis.eu/en/painting/gallery/  

Mykalojus Konstantinas Čiurlionis was an amazing artist who saw music as paintings. Most likely I am going to return to him as one of the artists who still influence my work. Ramybė (Serenity) (1903-4) by Mykalojus Konstantinas Čiurlionis was an inspiration for one of my early oil paintings The Piercing Eyes (1997-8).

Ramybė (Serenity) (1903-4) by Mykalojus Konstantinas Čiurlionis
The Piercing Eyes (1997-8), oil on pressed wood.

It is really bizarre how our vision can trick us. The Hooker’s Green Hue Dog is next to my north facing window, about a foot away from it on the left side, so every time I look through that window, which is in front of my bed, I experience this blind spot trick. Last night it was happening so often that I considered removing the painting from the wall or switching the places with The Blue Angst which is on the other side of the same window. I think I am going to switch the paintings because it is distracting me. I need to keep my attention on N. or the Upside Down Cock (later it became The Interrupted Tea Party).

Čiurlionis (left) and Nietzsche (right), these two were appearing simultaneously while I looked indirectly at The Hooker’s Green Hue Dog on my wall.

This morning while it was still not bright enough to see all the lines on the canvas, the red forms I worked on last night on The Interrupted Tea Party created another face which added a face to the non ending amount of faces I see on the canvas now. The appearances are fun and it is quite interesting to see how the removal of some lines is helping me to see what is hidden in the painting.

The small checkered parts almost became blue on The Interrupted Tea Party.

Funny, how I keep removing and adding back one line on the painting. If I told somebody about how long I spend contemplating on one line they would think I am crazy, but what do I care what people think, the line is captivating me right now and I am enjoying that bus ride with it.

It is interesting how the blue I am using on the canvas little by little is pushing out the red I started with. Right now I have more blue there than red. Well, it was not supposed to be a red or a blue painting. My friend N. made two lines, one red and one blue, so both colors are equally possible. I thought on using the red mostly and then adding the blue in the background. It seems like the painting is leading me where I should be with all these color choices.

Each form was carefully covered with the white for another color choice to be applied later on The Interrupted Tea Party.

Funny, I am still on that one line which I have removed previously. Well, let me work on the checkered curtain now and see if the line comes back. If it comes back, great. If it doesn’t, also great.

There is a certain hesitation when I start thinking about working on large canvases. I guess that hesitation comes with the stress I make on “the importance” of the exhibition. This is some bullshit I need to get rid of. Big canvases demand a different approach. They demand a larger movement with my brushes, knives and whatever I decide on using. I am getting mentally ready for my work with oils on a larger scale.

My early works were created exclusively with oils even when the oil paint was not the paint you should be using.

Untitled (1998-7), oil on paper and pressed wood.

The oils might feel a little bit different and strange to work with right now after spending so much time with acrylics. Oils dry slowly and mix a little bit differently. The intensity of pigments is also something to pay attention to. There are more specifics to consider when jumping on the oil wagon. I guess all this shebang prevents me from diving into the work on large canvases sooner. Though I should start working on large pieces regardless. There are already two ideas that await my exploration. They don’t really demand to be created with oils, so whatever mediums come to my hands I am going to make them work for me. I am way ahead of myself with all this. I am working on The Interrupted Tea Party and there are two large paintings still waiting for me to be finished.

Originally written 10-24-17

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