Orange love, Andrius Brazys and somebody trapped in a cadmium desert

Yesterday, just like that, I finished my orange painting. Again, while I was getting ready for a run, at three in the afternoon, I found myself making some “final” touches for tomorrow’s work on my latest canvas. I came back from the run and voila, I realized the work was done.

This is what I have started with a few days ago on my canvas. First drips were made using the cadmium orange hue, later adding the white.
The main characters were almost done before I went for a jog.
After spending about an hour giving some “touch ups” for tomorrow’s work the painting was done, but I realized it only after I came back from my run.

This painting doesn’t have a name yet. I woke up thinking about some versions of it, but none I liked. The painting has two very prominent characters: a boy with an orange t–shirt and a lady trapped under a gas mask. To see the lady you need to tilt your head to the right and align your eyes with the two circles of the gas mask.

A detail of the painting: the boy and the trapped under the gas mask lady in one. Cadmium orange can look quite “brown” because of how camera’s lens captures the light.

Because I was using the drip technique to finish the painting the desert “feels” wet, but because of the the cadmium orange it also gives you an impression of a melting hot environment the characters are in. I need to combine all these things into one name. The name could be as simple as “Trapped in the Desert,” but a name like that does not add anything to the experience. I am pretty sure the name is going to come my way. I just need to be patient. There is this scull/gas mask that the lady is trapped behind. That could become some kind of trigger for the name.

This is one of the paintings that changes with different light. Yesterday I caught this beautiful cobalt blue dawn through my window and because I had warm yellow light coming from light bulbs in my room, that cobalt blue in the background of the painting really popped and became a part of the painting giving the energy it needed. This painting definitely has to have a cobalt blue brother or sister.

The (cobalt) blue hour outside the window adds to the experience the trapped in the cadmium orange characters have on the canvas.

The green of the Mike or Whatever Bitch works wonderfully next to it as well. It almost feels like the characters in the two canvases have some kind of conversation with each other.

I’ve been looking through my window at the hills in the distance and realized how the lines I see change depending on what kind of light there is during the day. If it is overcast like today, the hills look dark blue. The top line of the trees becomes very defined. A sunny day gives you another feel of these tree tops giving them more color and a lighter appearance.

Not sure which color I am going to work with today, but I can’t wait to see what kind of characters that color is going to bring out of me. Interesting, I touched the violet color I previously have used. I checked if I had enough of it in my tubes and jars. It is very possible that the violet is going to be the color of my next canvas. I didn’t fully explore the violet yet. Most of it got covered up by the blue in “The Pilot Kissing the Moon” (The Pilot Who Held the Moon in His Mouth).

The transparency of the violet is different than the blue’s I used on the painting, so it completely disappeared under it. This cadmium orange paint has a similar transparency, so I know what to expect from the violet now. It sounds like I am going to be exploring the violet today.

It is quite amazing how different transparencies of paints affect how you approach them in your work. The transparencies affect the energy. No wonder with the hooker’s green hue I get a much thicker “feel,” because, hello, it is opaque, duh.

I have been thinking how I have not touched my black paint yet. There is a certain feeling in me that I might go big with it on large canvases. It seems like I have a certain need to explore the black and white approach of Andrius Brazys. He was so good at painting his angels with penises in black and white. Andrius was a self thought artist who left this world way too young. His black and white drawings on large pieces of paper made me very emotional the first time I saw them in an exhibition. His sad faced angels told me stories I was familiar with. We became friends not long after his angels introduced him to me.

Right now the flow I have working with colors is letting me know that I should continue exploring them through the characters that are coming out of me. I got two new canvases yesterday, so I am good for at least two colors.

I find it quite funny having all these empty large canvases but working on small ones and running out of them. You know what? It is good. It means that a certain energy is directed towards work on the series that is appearing on my small canvases. They just speak to me at the moment. I have mentioned the large canvases and the black and white series and it is starting to make sense that I could explore that idea on several large canvases after I am somewhat done with the small ones.

Originally written on 02-01-18

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