A MUSING #14

You have no idea how important it is to have multiple blank paintings around you in the studio. That might be very useless if you do anything that isn’t painting, but I’m excited. I’ve been content being back into my regular flow of work and having multiple projects on the go. Mike Brown is coming close to being finished and I need something to take the edge off.

Getting near the end of a painting especially a portrait makes me a bit mental. I want to finish it soon but I don’t want to rush it and feel forced. Having little canvases around helps because I can let out that energy without royally screwing up the portrait. That’s what happened here. It’s an independent piece and I’m exploring. Discovery and spontaneity are the two elements that remain constant in my work. I’m not scared to fuck up and have a “bad” painting. Anyways, it’s you guys who’ll spend all the time figuring out what’s good and bad. I’ll be painting.

A difficult part with more abstract work is that reaching the end point is difficult. There’s not just one finish line like there is in painting realism. Instead, there are many and you can keep working on one piece forever if you really wanted to. What it comes down to is personal taste. Without anyone around, is the painting good? Does it satisfy you? Can you look at it and be pleased? It’s not as easy as it seems. The only way to get better at it is to practice.

When I go on about personal taste, it’s okay to ask others from time to time. It’s just dangerous. You don’t want to be dependent on someone else’s approval every time you make something. I annoy my friends from time to time with dumb ideas. To be honest, I’m still learning how to trust my gut. The key to being a true creative is to always be learning.