Orange/Red Flight – the white spot of déjà vu and a shot of tequila

Last night I added some color to the “Orange/Red Flight.” My decision to use orange and red as my main colors proved to be working. There is going to be some blue and turquoise added on this canvas later, but these colors are more of a support to the orange and the red. I was afraid that the red and the orange might be a bit too much together.

The thin white line gives a better feel of the flight. The little white heads on the left center are traveling on the wing of the orange angel and are more pronounced now. The large red area is waiting for my decision.

Now, how should I develop characters in the red area on the canvas? I see two ideas: one is a huge-fire spiting-angry face from which the orange angel is escaping and the other is a red figure leaning onto the orange angel’s wings as if going with him/her. I like both ideas and maybe I should create two paintings out of them? I am kind of leaning towards the angry-fire spiting face, because then I would have this conflict in the painting. The work would become more dramatic.

The red (left top) area gained more white. My work now is to highlight these characters I see there by removing some strokes of paint and by manipulating the red/white relationship there.

I keep thinking about the fires in California, which is kind of what this screaming face I see on the canvas represents at the moment for me. It makes sense to make this face more visible and just go for it. I see how that red is moving through the lines on the canvas.

The reason why I like that other idea of the red character calmly leaning on the orange angel’s wings is because you expect the red to be a very active color. The character does just the opposite. It is calm even though it is engorged in fire. I guess I need to “sacrifice” one idea or the other, unless I keep them both and make it work. The fire spiting face could become a part of the quiet character and fly on the orange angel’s wings together with the bunch of other characters. I need to stop thinking and just do it because I know my hand will find its ways with the paint to make it work.

Every time I let my overthinking go all just works out. When I become too anal about all these details I overthink. Sometimes overthinking in cases like this can stop me from developing a painting or an idea in a painting because I begin to worry about “messing something up.”

I have changed my brush strokes from long to spotty ones with the purpose of making the wings smoother. I am not sure now if I got the effect I was looking for. I guess I am going to see how it feels after I introduce the other colors and develop these red characters.

For some reason I keep thinking about the oils again because it seems like I am giving the “drying time” for the painting painted with acrylics as if it is done with oils.

Originally written on 12-9-17

Today I just sat around looking at my newest painting wondering why I am not continuing with it more proactively. The reason why I kept this white spot with the extending long fingered hand came to me all at once. Ding-ding: this is where a character is hidden. It became almost suddenly clear to me why I was not moving ahead and covering this spot with a color. Here, I should say, I am experiencing a déjà vu type of situation, because I am sure I have written this a long time ago while describing one of my dreams and realizing already then that that dream was somehow, I don’t want to say important, but it said something to me.

In a similar matter I saw in my dreams my classmates from Vilnius University about four years before meeting them. In a very detailed picture I saw our first dorm room and I saw the guys I was going to live with while studying there. Today while writing about this white spot on my painting I realized that that is already written in one of my morning pages as a dream I wrote down to remember.

Originally written on 12-11-17

The other thing which happened yesterday was a shot (or two (who counts?)) of tequila. I went for the orange/red large painting. I am glad I went for it because now I see new images and new possibilities popping out of the area where I have this dirty red. I really went for it with my fingers, brushes and paint slaps. The images I see right now in the red part of the painting are quite amazing, but I know that most likely only I can recognize these lines which create this sad man’s face and this laying in front of the face figure.

The red area now has two defined characters: a man looking straight at you and a sleeping/leaning on the wings figure in front of him. The orange flying angel is as if pulling of the orange to reveal these two fragile characters.

Sometimes I do need to let go of things I am attached to in my paintings. It wasn’t easy because there was this face I painted and liked it for a long time. But the face was just not working for some reason. It was just there and I didn’t know what to do with it. After I distorted the face with my finger painting I can still see it, but it gained a different feel/energy. The face became not as harsh as it was. My finger-slap painting did the job. It covered the spots which needed my attention.

Originally written on 12-13-17

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