It's Not Your Mother's Decoupage

Trying some new and interesting techniques on this one. I used distress ink on top of the entire tree canopy (my fingers look like I was just printed...) but the messiness was worth it. It's supposed to create an vintage look for photographs, but I read about using it on mixed media pieces. I think it gives the tree an aged look, but also adds to the textural feel of it overall. Also, cut papers and stamps of leaves to create a tree top that I really am happy with.

This is what I got, so far. The messenger figure is salvaged from a vintage birthday card, and I created my own paper cut-out hearts. The acorns are from a magazine photo - when I saw them, I immediately cut them out, as knew I would use them eventually in a mixed media piece -this was the perfect spot for them. I also drew the basic outline for my angel on the left, and am thinking about distressing the entire angel image with ink before I paint it in. A mermaid will be swooping in from the right from cresting waves, (you can faintly see her), but I have yet to insert that last image. The finishing touches will be the inspirational words throughout. They'll have to wait till last.

Phase Two: defining images...the support rocks, and waves and sand -done; tree of life almost done. I think I'll be inserting some more smaller circles, but use metallic paint...keep the Klimt feel going. And the tree trunk will be more stylized too. My art always feels much more 'successful' to me when it does not become too 'painter-ly'. Even though I love Renoir, I always relate much more to Klimt. Know what I mean?? Anyway, it's all about trees lately people! And words with art. It's going. It's a beginning.

"Little Girl! Get away from that goat!...

...They are vile and dirty beasts that cannot be trusted. They eat lots of garbage and frequently enjoy regurgitating it too, and you sweet thing, do NOT belong in this scene."

That's what I'm thinking now, every time at look at this unfinished painting. I started it weeks ago, with the idea of combining mythical images of the goat god Pan, and a witch named Baba Yaga, with ordinary figures -namely a goat and a girl -in an effort to create a sort of visual commentary, and give life to some really cool stuff I've been reading. The symbolism of Pan represents overt sexuality, lusty playfulness, but trouble. Baba Yaga is a folklore witch that assists children on their journey through the woods, but only if they satisfy her demands. If they don't, she eats them. The girl represents innocence and curiosity, all too willing to befriend the goat, who's alter ego is Pan. The perspective of the mountainous background, copied from a once favorite photo, was lost in this, and the Pan figure just didn't gel...so, the mountains wound up flat, and Pan got painted out. Baba never made it in, but her skull lanterns (that will guide our girlie on her journey) might. Currently, the story is much more interesting to me than the actual painting, and I'm hoping to find a way to overcome the fact that the whole spirit with which I began this  - is gone.

Have you ever stopped a work because you weren't 'feeling' it anymore? Did you abandon it, or did you find a way to still get your initial intentions across?

Can you say gesso?

the flaming snake lady

About a month before Christmas, I went to Home Depot, and bought myself an 8X8 sheet of plywood. I then had the guy cut it into three pieces; two 2X2's and one 4X4. I then excitedly went and got myself a huge jug of gesso and, once home, covered all those boards with it. Viola! instant BIG painting surfaces. Buying canvas this large is very cost prohibitive, and I have been dreaming about putting some if my big ideas onto big spaces.
This one is a fave that I've had the idea for since spring of 2008. I got the idea primarily from a lyric, which, as it turns out,  I didn't hear quite right. (more on that in another post) No matter, because I like my version better, and the image just came to me.

Of course, I am encountering a myriad of problems...one - never painted this large, so it's difficult maneuvering myself around the piece as I'm painting (would help if I had a real easel...), two - the wood is not the most forgiving of grounds; paint skips, grain shows through, etc...but I've learned that I'll need to use more gesso and sand more vigilantly next time, and three - acrylic dries fast! even when you put additives in it. That creates all kinds of issues with blending colors, etc...More as it progresses, but here are some additional shots of flaming snake lady....(and that is not going to be the title of this piece...).

The color goddesses were present on Wednesday night when I did the initial color overlays...unfortunately, the camera gremlins will not allow me to get a shot with out the damned flash showing up in my photo!

This is an example of the wood grain showing through, and when I photographed this last night, it was annoying me. Now that it has had time to dry, I'm beginning to think that the grain may actually enhance the painting in some areas, like in these flames. 

So, I'm re-learning allot about painting in general and am excited to be painting this big. I'll keep on posting as the pieces progress. Have you ever created a work this large? What other issues are related to work this big?