Posted on July 24, 2017
Here is a recent portrait commission using the grisaille method, where the colour glazes overlap and create an optical effect as the light passes through each layer. This one has around 6-8 layers of oil glaze over the grey underpainting. As I have mentioned before, I use M. Graham’s walnut alkyd medium, which dries quickly enough and doesn’t give me a headache. I was constantly repainting and working into the drawing as I went, and the main problem in the end is the risk of over-working it, so at this stage I decided to call it a day.
The portrait has a rather serious quality that I like. There was a lot of revising and correcting, but the head looks as if it could be carved out of marble. As a sculptor by training I definitely enjoyed painting this head with its beautiful symmetry. It’s one of those things but I would rework it if I could get it back now, but actually I couldn’t because it lives in its own time and I correct it in further paintings. Each painting is part of a long chain of work that link one to the other, and each painting has its own quality, for better or worse. Actually I would have loved to carve a portrait sculpture based on this portrait.
There was a lot of correcting while painting the glazes, because the grisaille was probably not complete at the time of the first glaze. But as Philip Guston said, painting should have a moral aspect, and somehow all the effort spent in painting a picture or portrait is stored as a kind of moral force. The opposite would be something like doing it with a photoshop app and a click of a button. This is absolutely true and you can always sense this in a painting, and in the most subtle way all the effort, all the revisions and alterations, all the agony and effort, and joy, show in the final painting. Philip Guston was a true hero of art.
Posted on March 1, 2017
For this piece I made a clay model which was in turn worked up from photos, and then using the clay model as a reference I carved directly into the marble. I didn’t use a pointing machine or anything, but I do use callipers to measure distances between say eyes to bottom of nose, width of mouth etc. I hew off large areas first, for example the width of the head down to the shoulders can all come off at right angles, then the distance between the projection of the nose and the rest of the face, then down to the cheeks. You can see an example of this in the photo below of another portrait sculpture where the tip of the nose is still square. This is a method I picked up when working as a stone mason in the Wells Cathedral yard, where I worked while taking a year out of art school. #art #devonartistnetwork #carraramarble #carrara #stonecarving #sculpture #portrait #portraitart #portraitsculpture #elbowgrease