Latest posts by michael wilson (see all)
- JORDAN RIVER - February 5, 2019
- Inspired Art - August 2, 2018
- Waiting for Inspiration - July 31, 2018
- The Bridge between Painting and Photography - July 31, 2018
This would be my third article in describing specifically the technique of ‘drag’ painting. This is essentially the same technique that Gerhard Richter explored though on a much larger scale. Techniques in oil painting abstracts vary considerably.
As I have mentioned before I find that canvas is not suitable…my own process uses 1/2″ plyboard which I prime and sand at least twice and sometimes three times to create a very smooth surface. Even with all that priming the patterns of the ply still show through which I incorporate and use in the painting to good effect. The attraction in the drag painting process is the allowance for accidental effects – when the pigment is placed on one side and then dragged with pressure all across the length of the board, it is impossible to know what will actually occur. Other pigments which are also dragged above and below mix and co-mingle with the others and these create even new colorations.
In more recent works I have begun to use a smaller squeege and in sections completely drag through to the patterned ply to reveal the grain. The resultant color leaves an interesting ‘stained’ effect and by doing this all over the board an overall design is created. The intention is to create a harmony of pattern across the entire piece.
Also more recently, after the drag painting is complete I will come back and study the work to ascertain just what patterns and what feelings seem to be emerging. Then I will add by brush or again by squeege in more subtle strokes certain accents that play up those patterns and feelings. There is the necessity of being sensitive to the painting, discovering what is trying to come out and be manifested. Sometimes only light touches are required and sometimes more bold accents are added. I have even begun to experiment with applying tissue paper by tearing and cutting strips and then varnishing them selectively in sections. This creates in areas translucent and special reflective colorization. For example a bright yellow tissue paper over a dark blue will create a striking green. This kind of semi-accidental effect plays well with the underlying drag painting. The painting in the example is done this way.