There’s something that happens to my body with the intro beat of this one particular song. My heals start to lift up and down in rhythm. Then my whole body is out of my control as the smoothness of Elton John’s voice starts in and my shoulders are suddenly lifting. By the time Dua Lipa joins in my hips are swaying and my head bobs this way and that, as I sing along. At the same time my paint brush glides as I spread transparent colour onto my canvas. It’s a good thing that I’m not doing anything that requires precision – this is free form painting at its best. Pure abstraction! The emotion spreading on the canvas is what matters. No preconceived ideas required, thank you very much. (And its a really good day if Spotify follows it up with Uptown Funk, ’cause then everything stops for a few minutes as I just dance while considering the canvas before me.)
I had two 8×8′ study canvases before me. I was taking a break from bouquets as I wanted to spend some time in pure abstraction. I love the serendipity of abstraction, know that it is a challenging form of painting and was excited to be taking time to test my artistic chops with the form. I had my palette open and was ready to lay my base stains on the canvases. I needed some music to drive my inspiration. I remembered hearing a song remix that had Elton John singing, so I Googled Elton and saw the song Cold Heart, called it up and BAM, my body was possessed. The base layers went down with an excitement that the government would tax if they knew. (Scan the code on your right with your Spotify app. I dare you to stand still.)
Once dry, I start the negative painting process by marking out the shapes that I want to protect, while also being cognizant of what is happening shape-wise with the negative areas. I think it took three layers before I got the grey really right. One study was analogous colours moving from reds through blues. The other was a shift from blues to the center of the colour wheel greys. I tend to like painting with colours that run close to each other. This way I can put in a pop of colour that doesn’t seem to belong, yet works perfectly in creating that little bit of angst every painting should have.
So this is how the Cold Heart Collection began. These two little 8×8 inch boards that would serve no purpose other than to remind of the beginning…and to give me the idea that the first paintings needed to be black/blue/grey with that little pop of umber that looks so yummy.
Now I won’t tell you what my inspiration came from other than it was a photograph that had this really great negative space around…an object or is it objects? You see, if I tell you, then you will never unsee it and this will change your perception of the work. You need to see what your views shows you, not what I was inspired by. Isn’t that the most beautiful part of art? It’s about each individual view being unique. I think that’s why I don’t care for realism painting and lean more into abstraction. It allows you to assign your own perspective rather than force one on you.
SO WHAT ABOUT DWIGHT AND REGINALD?
Yes, right, my first two paintings in the Cold Heart Collection, Dwight and Reginald. I always start with two 12×12″ paintings and will usually lay the basis for the third larger canvas at the same time. In this case I knew that I would do a larger 20×20″ next, but wanted to explore how I create this collection with the 12×12’s before I go too far. The studies were well received, but I still wasn’t sure. So I only had my two 12×12’s on my wall easel. I think this doubt is universal with artists creating something new, outside their comfort zone.
Cold Heart played first thing with a few repeats throughout the morning. As I lay these dreary (for me) colours on my canvases I just let the music take hold and followed my instincts. These fabulous patterns were taking place as the medium allowed the colours to meld together. Here’s the base of one of them, but I’m not sure which one. Doesn’t really matter though, cause then disaster struck. By the time I had finished that day’s painting session, I had too many shapes and not enough negative space created. I was still working in 8×8″ mode and not 12×12″. You see when you shift up you not only need to shift up your brush size but shape sizes on your canvas. It may seem like a small increment – it’s only 4″ after all, but in reality it is a big difference. This was a rookie mistake that caught me unawares, I suppose because I was going really abstract and I was allowing myself to get hung up rather than following my instincts.
I put the paintings away but the error was driving me crazy. I was in a kind of panic because I love these thin base layers so much…and you only get those once. Following an evening on my iPad drawing out the proportions of negative space, the next day I covered the painting with a new base layer. I didn’t photograph it, I think because I was still a bit in that panic mode that had taken hold the previous day. Once I had Cold Heart playing and started creating my negative space however, things came together, I relaxed, and got into my painting groove. My new base layer came together perfectly with lots of texture and dimension. The results are two paintings that I really enjoy. Particularly since they look one way from a distance, but when you move in close, you see a whole new dimension to the paintings.
Dwight and Reginald got designated as donations for the silent auction at The Fraser’s annual Gala night. It seemed like a good idea at the time, but as I drove home following delivery to the gallery I regretted my decision. You see, I have this wall in the living room on which I hang paintings so that I can assess whether they are done or not. They hang out of my field of vision. Throughout the evening I will glance over at them, making note of my reaction, sometimes actually taking notes to drop off in my studio at bedtime. Well Dwight and Reginald had been hanging in that spot for 3 days. All nicely varnished. I had just wanted to enjoy them before they left home for good. On my return, I walked back in the front door. The empty wall flashed like neon.
[If you won Dwight and/or Reginald during The Fraser Gallery’s silent auction, then my congratulations to you. I hope that you find a spot in your home where you can enjoy them on a daily basis.]
Dwight (on the bottom) is my favourite, and Mr. D’s – he has asked for a print of Dwight for his office.
True Story!
TIME TO DANCE
Cold Heart
Dionne’s Cold Heart collection originated with Elton John and Dua Lip’s song Cold Heart. This song is a mix-up of 4 of Elton’s songs and has a fantastic flow. Dionne has a physical connection to this song in that she can’t not move when she hears it. Dionne says it’s a terrific song to listen to while she create her base layer.