Author: michael wilson

I am an abstract artist. My medium is oil painting, often painting on primed board. My wife and I live in San Diego, California.
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ABSTRACT ART FOR BEGINNERS

One of the methods I employ for painting is ‘Drag Painting’.   This is an excellent way to create abstract art for beginners.   Drag painting provides an immediate means to create accidental effects.  We are trained to control our art but this often gets in the way of creativity.  Drag painting allows you, the beginner to create exciting and often astonishing images without the use of a brush.

You will need to use hardboard as a surface.  Canvas just will not work.  I use plywood with 1 x 2 sticking on the back to keep the 1/2 inch plywood from warping.   This tends to be a tedious bit of work so it is best to build several at once.  The lumber store can cut your panels to size for a minimal cost.  The 1 x 2’s do not need to meet precisely in the corners but do need to be glued.  Gun nails are preferred though hand nailing small finish nails will also work.  Set and spackle all nail holes.  Your panels should be a minimum of 2 ft. x 3 ft. and larger is even much better.

It is best to build two or three at once.  The panels will require several coats of primer and I sand primers between coats.  Water based primers work well enough.  Two or three coats of primer should give you a very nice even, flat surface.  Unlike painting on canvas I lay my panels down flat on an easel.   The tools you will need are simply several sets of squeeges – the type to wash windows.  I also use silk screen squeeges and then smaller, plastic scrapers about 4 inches across.

Apply paint directly on the panel from the tube in whatever location that suits you though I recommend by putting pigment towards the top of the panel.  Applying pressure lay the squeege above the pigment and pull down .  Try to pull the pigment all the way down to the bottom of the panel – yes, this requires a fair amount of paint.  If you had applied several colors side by side you will see how they blend wonderfully when dragged down together.  No brushes are needed.  Cover the entire panel by spreading with the large and small squeeges.  Go across if you want and then vertically again but always press the paint hard in to the panel.  You will be surprised at the dramatic effects created this way.  THis is an excellent way to create abstract art for beginners.

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Abstract Art as Response

Abstract art as response is of course fundamental to the process of painting.  The process of art begins with response.  Reaction is another word, emotional response or reaction to something experienced or seen,  or felt or imagined.  Abstract expression provides a more immediate response.  The demands of detailed sketching or formalized concepts is usually unnecessary and even obscures the purposes of painting abstract work.

As I get older it seems to me my responses have a sense of prayer in them.  The response and then the actual painting have that same kind of spiritual attention.  There is a searching involved.  Prayer has that quality of not knowing exactly how or what to pray for so we give it up (so to speak) to a more Universal intelligence, to God, to that which connects us all.  Painting certainly has that quality.  We start out not quite knowing what to say or how to say it and hope that some Universal sense will go beyond my own limitations – helping then in the response.   There is a feeling of mystery in the process.

In my most recent painting are two central rectangles that are being separated.  A ragged edge seems to represent a tear.  Each side is essentially of the same color with just slight variations.  These two forms are dominant.   Around them swirl various forms, squares, shapes and circles which I suppose might represent the complexities that bombard us every day – all the choices, all the decisions.  All of this floats on a platform and this particular platform has its own inherent drama.  Each of us have our own orbit of relationships and these individual relationships make up our platform.   Then from an arch that opens up to a sky comes a band or ribbon of yellow that circles and then sweeps across the two ragged torn forms.  This may represent some shaft of light, some enlightenment, some spiritual awareness which wants to bring a wholeness to the images.

The painting is certainly a response but I can never know exactly the precise form of the response.  I can be grateful however in the medium of painting abstraction to express it.   Perhaps this has something to do with the recent difficulties my son is going through.  Maybe it has something to do with my own inability to establish solid relationships which have meaning and higher value.  It probably is many things – emotions that overlap each other.  As I have said before in past articles it is important to just paint…literally to respond by painting to these impressions.  Abstraction as a medium is wonderfully adaptive to this process.

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Painting as Prayer

If we understand prayer as an active response, at least in its most broadest aspect then the process of painting can be certainly be considered a type of prayer.  Painting is after all, a response to influences – both internally and spiritually and external representing form.  Painting as prayer is something that has become part of my experience though I never thought of it in this way before.  As one gets older the act of prayer often  becomes more predominant, so I suppose it is natural that I now seem to be in a type of prayer when I paint.  It is a reaching out, a very natural response, a hunger to see and experience an awakening.  

As I paint I find myself applying paint as a way of expressing a vague prayer, not really knowing the full intent of the inward expression.  Certain colors are chosen, certain designs are created as a response…not quite intuitive but not pre-designed either.  We all carry burdens of the heart.   Does the artist feel these more?  I really could not say.  There is the sense that each expression, each painting, each episode, each passage in the painting carries within it an undefinable cry of the heart.

This process, painting as prayer is not a pre-conceived idea or effort.  I was not even aware that I was doing this until recently.  It seems to be like the Catholic prayer beads, those that we hold in our hands and turn hand over hand, with a specific prayer at each large, wooden bead.  Each stroke of the paint, each blending of tone becomes it seems like an effort to offer up a prayer for those I know, for those I love and for those in distress such as those fleeing across the meditteranean from Syria.  There is much to pray about.  The artist I think has a certain responsibility to be sensitive and then to respond.  How can we call ourselves artists if we cannot respond to what stirs our hearts.

We see this in many of Rembrandt’s paintings, in Van Gogh’s, in El Greco’s work and in the genius of Michelangelo.  They remind us of eternal principals at work in spite of our shortcomings.  As they paint they draw close to the heart cry of humanity, the inevitability of death but also the deep desire to embrace life, this moment, while we are able.  The desire to capture by painting the life that flows before us is an act, an act of sincere prayer and ultimately should be,  if it is to have real force…real power.  In sincerity is power and we discover intuitively those works of art which lack true awareness and real sincerity.  Even in his commercial work done of high paying merchants we see Rembrandt seeking to discover that which is true in the light of the eyes of his sitters.  He is praying as he paints, to understand more, to understand more clearly.

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Line Value in Abstract Art

Perhaps more than any other painting genre, abstract art employs lines to border forms.  Line value in abstract art becomes practically an art in itself.  Line value in this sense refers to the relative strength and thickness of the painted line.  It often also refers to the shade or darkness of the line.

Line value in Abstract art is used of course to enhance a particular form and to draw attention to a certain feature.  It is used selectively and rarely is every form bordered with a dark line which would appear repetitive.   Van Gogh would often employ lines to border forms and figures in his paintings so that they would stand out from the background or from other forms.  Van Gogh was not one to carefully blend his forms from dark to light.  The use of the heavy line served to distinguish his forms.  In one painting of a friend sitting in a chair, he used a heavy red line completely around the figure which literally popped out from the background.  It appears he painted this dark, red line while the painting was still wet so that in places the red line mixed with the image of the figure.

Kandinsky appears to paint his lines after the forms have been placed, set and dried.  This allowed him to paint very distinct, sharp delineation.  Line value in abstract art took on a whole new meaning as Kandinsky began to explore true abstract art.  His lines are remarkably painted with highly skilled brushwork.   I expect he used very refined round sable brushes for this kind of delicate work, especially the circles that he drew so often.

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Tips on Hanging Custom Art Work

There are several important tips on hanging custom art work.   When you make a purchase of an original art piece you will discover that the painting is ‘ready to hang’ or it is not ready.  By turning the piece and looking at the back it will become immediately apparent if the frame has been fitted with two hangers and a stout wire.  Hopefully you are in luck and the painting has these already attached.  When purchasing on line you can certainly ask if the painting you wish to buy is ‘ready to hang’.

If your painting arrives at your home or office without any means to hang, then you will have to either buy a ‘hanging kit’ or pay someone to make the painting ready to hang…that is a frame shop that specializes in hanging art.  Hanging kits can be purchased at Hobby stores.  Make sure you buy the kit that will be suitable for the weight of the painting.  A store clerk should be able to guide you through this decision.  Some tools will be required to do the work by yourself.  Frankly, for the effort and money I would be inclined to bring the painting to a shop that does this kind of work routinely.  

Once you have the clips secured and a substantial wire cable strung between, then the next step is to locate actual studs to hang from.  Finding a stud is necessary for heavier paintings – a stud or two.  Studs by the way, are 16 inches on center so if possible locate and utilize two.  If the painting is lighter then it is certainly possible to install anchors in drywall and then screws.  Once the screws are installed in the anchors then you are ready to actually hang the painting.  I recommend someone help you to guide the wire over the screws.  You have to flatten the hand and reach back to insure the wire cable has ‘hooked’ over the wire.    Of course make sure you have a level handy so that each screw is level to the other.  Certainly give some consideration to the height of the painting off the floor – many paintings are hung too high for proper viewing.  Lastly, please have adequate lighting for your new painting.  Often paintings are most appreciated at night and a proper spot light which highlights the painting can be truly stunning.

 

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Oil Backgrounds

Oil backgrounds tend to form or establish the theme to an abstract painting.  Here though I use the term ‘theme’ quite broadly, implying that the feeling of the painting is greatly influenced by whatever is occurring behind the forward forms.  Painting oil backgrounds then must be carefully rendered.   By carefully I mean painted with a high degree of sensitivity to how the painting evolves.  The forms will affect the background and the nuances of the background place and establish the forms in the plane.

Recently I have been more willing to nuance the backgrounds to add substance to the more forward forms.  It has been interesting to realize how many subtle background effects can enliven the forward abstract forms.  I have lately experimented with inter-weaving backgrounds with the forms.  This creates a very unique tension on the picture plane and is something I would recommend pursuing.

It was definitely Kandinsky that brought my attention to just how critical and vital the background must become.  His backgrounds were integral to the structure of the painting.  Artists such as Miro and Matisse (generally of his era) did not seem to emphasize their backgrounds with quite the same intentionality.  Quite a few years before Kandinsky we see that Van Gogh rarely made the distinction – his backgrounds typically integrate with  the subject and in a way that is dynamic as if the different planes are sharing an energy field..  Broad, bold strokes are beautiful of course.  My more recent paintings show a shift towards more relationship between background and forward material.  This increased attention, this back and forth relationship adds a pleasant interplay both in design and in color.  Bold strokes are made more vivid in contrast to a nuanced background, especially when that background comes forward to interplay with the forms themselves.

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The Simple Artistic Compulsion

Any activity which we interpret as authentic, visually truthful and that comes from clear observation is tremendously transformative.  The simple, artistic compulsion to paint must be understood in those terms.  Especially for the  painterly arts, composing ultimately becomes the most direct means of interpretation.  It comes from a very deep longing to first, see clearly and then second, to respond honestly, to paint responsively.

The simple, artistic compulsion to draw or paint, is the artists’ fundamental response to a psychological world that can only be understood in small parts.  Drawing is a very natural response – the hand follows the patterns almost spontaneously.  The compulsion should be seen as a good thing and a natural motivation.  It represents a longing to understand but seems to be less a mental response than a visceral, physical and emotional reaction.

Red Canyon – Original oil painting By Michael A. Wilson

The artistic compulsion could be seen as just a simple internal mechanism triggered by personal and intrinsic rhythm.   It represents our DNA, our means to communicate best – the process we use to identify the world around us.  Fortunately it has very little to do with the egoic mind.  As a more emotional, physical response it tends to bi-pass the ego centricity and seeks a more direct means of expression.   Every new generation looks to the artist to point us towards truth, towards right response, trusting the artist with good sight.  The method however can be seen as a very nice and natural compulsion.  It is a compulsion however that is sheathed in an affiliate whose aim it is,  to manifest truth.  This rather dramatic and lofty purpose is not only bestowed on the artists’ psychology but tends to run across the board – a wide range of occupations including sports, medicine and admininistration.  Curiously though down through the ages, we have hoped that it is the artist who shines the light.

Worthwhile or not, the artistic compulsion is best followed.  Good results may come or poor but if followed honestly and sincerely art will be manifest.   Only the artist himself (or herself) will feel as if something has transformative strength.  The effort is always rewarded, always transmuted in some unidentifiable way.   Curiously this may be why we find those drawings first composed as the most authentic response.   Do we see them as closer to the truth?  By seeing the truth of that interpretation, humanity is by degrees brought along.  It will be interesting to see if the artist can continue to point the way towards gradual transformation.  The internet, fast images, sound bytes have begun to obscure the deep lake that lies at the bottom of every soul. We are skating over the surface.   Can the artist discover a new and vital means to touch and stir humanity – one that incorporates rightly the technologies at hand?  It would seem this is the ultimate challenge facing the artist today.  First we must respond to that inner compulsion.

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Original art for sale

Finding original art for sale is so much easier now thanks to the internet. Prior to the internet anyone seriously interested in good, original art were limited to gallery showings. This left a lot of excellent artists out of the market. Showings in parks, infrequent private showings were effective but rare. Artists were sometimes helped by friends and word of mouth while some would creatively seek out public spaces to display.
The downside to the internet activity is that we have fewer galleries today. There is admittedly a very real charm to an actual gallery setting. Seeing an entire body of work, well lit in a good gallery can be inspiring. By seeing various pieces by one artist a buyer can get a much better feel for the style of the artist. This is not so easily accomplished even on good internet sites today.
My suggestion is to carve out time on a weekend and visit several good galleries in your City. See what is available. Keep in mind that a gallery will of course charge a considerable increase to the art work being displayed. While you are out, have lunch and make a day of it. Visiting galleries can be an exciting venture and seeing the art hanging will give you an excellent feel for how the piece can be hung in your own office or residence. Seek after original art for sale – not copies.
Ultimately the tide is definitely on the side of internet sales. The advantage of course is that many more artists can be seen. Prices are generally better by shopping on line. Web sites are becoming more and more sophisticated – art work can be even placed in a particular setting. Size of painting, price and often even a brief history of the painting is attached.
Nevertheless once the painting arrives you will find that it is not exactly how you had pictured it…perhaps it will be larger than you had expected, or smaller or more muted or more colorful than the web site had displayed. These are usually small considerations though – usually a painting will look, overall much more vibrant when seen ‘in person’.
When searching for art on the internet try to find at least five or six of the artists work. If the painting is done by an ’emerging artist’ the value of the painting will inevitably increase…you may want to purchase additional work by the same artist. Always try to buy original art and not faux copies. Ultimately buy original art that truly resonates for you personally.

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The Purpose in Drawing

The very first step in the creation of art is most often the simple sketch. When the drawing is efficient, perceptive, decisively created, then the drawing gives the piece a good chance of success. The purpose in drawing lies in the process of the discovery of essential form. It is suggested by a very well known art instructor, Nicolaides that drawing well comes only after several years of essential discovery. During those early years no attempt should be made at creating ‘nice drawings to show others’. These several formative years are about truly seeing and understanding form – even seeing within the form to its essential characteristic. No attempt should be made in making it pretty. The training has to do with responding to form with our multiple senses and learning how to honestly capture that response with simple graphite. Drawing then becomes simply a means of responding. The graphite pencil or chalk or conte become the basic tools.
We know that this long period of study eventually pays dividends. Through study and perception an artist slowly begins to truly see, even as a musician learns to hear the critical nuances of notes. Subtle shifts are noted, the softening of form can be delineated, followed and then drawn. As we mature as artists we draw more quickly yet with more effectiveness. Because we have learned to study and see, this ability to draw becomes the critical stepping stone to painting. We find that even though we draw on the canvas our idea, very quickly those lines are absorbed by paint. When this happens we begin to (in effect) draw with our paint brush. All that we had learned from drawing with graphite is now becoming dynamic. Paint is deepened and lightened to create depth and highlight.
The purpose in drawing must also be understood as the artists gateway to finding him or herself as an inner person. This realization of our inner self is what makes art such a potent and critical part of the human race. Drawing makes a way to realize the inherent character of the many forms around us. Our own interior space, our inner self is uplifted and transformed
by these realizations. When line drawing gives way to the fuller expression of painting with brush, we are more capable of expressing ourselves. Color becomes the key and second ingredient to the design itself. Color enhances everything. Color will attempt to overtake the design and smother the original conceptual drawing. Maturity is required to keep the two in tension and balance. Picasso did this brilliantly.
The spiritual aspect of drawing and of painting is undeniable though our understanding of the process seems to barely touch the surface. We know that as we absorb our full attention to the work at hand, the drawing in process, then we grow naturally in our understanding. It is this profound understanding that brings us to a more transformative state. Little by little we see more clearly. We grow up in our awareness…we become more skillful in responding.

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The Essential Purpose of Art

I truly cannot remember any of my art professors discuss the essential purpose of art. It would seem vital to an art education – a young student venturing in to the field of art, to understand where they are going and for what purpose. They have chosen to express themselves as artists and so, it would seem important to lecture them or help them understand what exactly is the essential purpose of art. Perhaps things have changed now at the academies – I hope so.
Perhaps art instructors now have a better grasp of the purpose of expression, the reason for art in our lives.
If a student were to better understand the purposes that surround their experience then it would seem to follow that their own art would benefit. A broader understanding would naturally yield a higher clarity to ones own work. I attended a number of art schools both in and out of a University setting and generally the environment was less than inspired. In retrospect this was a shame and I truly hope that the schools have realized the necessity to re-invigorate themselves.
Art is and certainly should be the higher reflection of a higher understanding, a greater awareness, a more directed consciousness. In fact the very nature of art is derived from the awareness of form to the point of understanding the essential nature of form. Art is, after all awareness. The artist studies form to realize the inner aspect of form and then to manifest that understanding to the viewer. This is the artist’s purpose. We understand that form simply observed, reveals little to our understanding. It is the artists purposed to search it out, discover the inherent meaning and to ascertain the poignant metaphors. When we see good art we should be moved, we should be transformed, even if slightly. The subject matter may be abstract. It need not be a realistic reflection of nature.
Perhaps we are at a critical period now, as Ekhardt Tolle suggests – that our spiritual and inner self is at a critical point of survival. Perhaps this reflects what is also happening to our physical world, now beset with dynamic climate change. One seems to run parallel to the other. The scientist makes us aware of these physical dynamics that affect our lives and the responsible artist should heighten our awareness of our own developing consciousness- the non-physical world.
Every time an artist makes even a small discovery of what is inherently true, then we as a society grow. Every understanding by the artist helps us in our own awareness – or should.
The essential purpose of art has very much to do with discovery. A very inspired drawing instructor named Nicholaides suggested that the beginning art student should forget about making ‘nice drawings to be admired’. The first years of study should be devoted to discovery of the inner nature of form. I think this comes close to defining the essential purpose of art. When we become enthralled by the simple contour, we begin to gain an appreciation for the wonder of life itself – the great energy that supports and sustains life. The artist’s purpose then is critical if we are to grow spiritually in this dynamic period of history. There is a deep responsibility required of the artist to seek honestly and diligently whether he or she paints objectively or abstractly. Concentrated study will always be rewarded. Curiously a drawing which reflects the essential nature of its subject, by degrees cannot help but reflect a certain beauty. The closer we ascertain the nature of a thing, the more mysterious and beautiful it becomes to us.