Latest posts by michael wilson (see all)
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In previous articles I have stressed the need to accept accidents in painting abstracts. I have even gone so far to suggest that the accidental occurrences may even be more authentic and more alive than the attenuated brushstrokes. Especially employing the techniques I use…that of drag painting, it is impossible to determine precise outcomes. It is shocking sometimes when effects are created which considerably exceed anything planned or anything executed by a skilled hand. This is a wonderful thing. It is like good jazz. The static surface begins to resonate from an inner resource. So, there is this constant tension as a painting develops between un-planned and planned executions of paint. This tension creates a surface, visual dynamic. The Title, Corrections in Abstract Painting, refers to the necessary process of harmonizing the various tensions which appear all over the surface. Visually, they should dynamically relate to one another…disharmonies need to be corrected.
It is important however to understand that as a painting nears completion there will inevitably be immensely strong areas. These may result from semi planned accidents or specifically painted areas. Conversely there will inevitably be areas that do not work. These are areas that are not in harmony with the rest of the painting. There is inconsistency in style, in rendering, in feeling or the color may be off. This is when you will have to study your painting. It may not be apparent at first. You sense something is not right so you keep studying it. The painting is basically almost done and you keep looking at it. Lucien Freud insists he is not analytical but clearly his paintings indicate his countless refinements. These refinements come from studying the painting carefully. You will have to decide where the strong areas are and where there are weaknesses. This sometimes needs to be done before the paint is dry.
Making corrections in abstract painting is critical to the final outcome. By now you will have a good idea what the painting is trying to manifest. You may be surprised to find that the painting is very close to what you had sub-consciously intended. Still, your keen sense is needed now to bring those weak areas up to or near the level of the over-all painting. Often a weak area cannot get to the high dramas (the more successful areas) of the painting but the weaknesses can be mitigated so that they do not detract from the whole. This is what I mean by making corrections. It is important that the entire painting works as a whole and that there are disengenuous parts that detract. Sometimes a good artist friend who is honest can come in and give an opinion. Regardless this is an important part of finishing up a painting. One tip, look that there is sufficient contrast in the key elements. Often times many of my corrections have more to do with contrast than with actual hue.