Wednesday, April 1, 2009


Detail from "Romance at NASA" - #7 in a series of 30

I have been thinking about the blonde haired character in the latest NASA painting. He seems to be offering a blessing of sorts to the two astronauts who are in some sort of embrace.
There is a false piety about this character - but I feel, that he is not yet aware of his own growing estrangement from his original ideals. He will become a mocker and destroyer of things he once held cherished.

The glasses indicate an intellectual aspect to this man. The long blonde hair suggest a radical or non-conformist attitude. The clouds that rain, frame the background behind his head - one rains up, one rains down - suggesting a contrary nature. A double minded man is like a boat tossed to an fro on the ocean - there is a boat on the top left side of the painting.

As for the two embracing, I have no clues - but it's a romance of sorts played out in a surreal environment. Well NASA #7 is almost finished. I just have to fix a few issues and do a few tidy ups. I have begun listing the colours on the back of the stretchers, as a way of keeping a record for future reference - especially if I like a colour scheme and want to use it again.

The colours in this were very difficult to reconcile, but the black container lines seem to equalise and tie it all together - there is still some imbalances and composition issues but I will sort them out. The compositions are worked out rapidly on these works - about five minutes quick sketch then about 30 minutes of alterations. Over the course of the painting minor adjustments are made to the outlines, while most of the work is spent configuring and placing colour - every work has it's own challenges and inner tensions.

"Romance at NASA" - unfinished

Colours used: Naples yellow, Prussian Blue, Viponds Hermitage, Titanium White and Carbon Black. Acrylic on Canvas. One or two layers of paint. Solid colour, no varnishes. Cheap brushes used in a loose way.

They are meant to be quick paintings, not laboured over but expressed individually and within the context of a larger work - a larger work of 30 paintings - sort of like people really.

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