Distance & Contrast

The black and ochre layers were created with a lean and super matte finish, as well as showing very minimal brush strokes. In contrast, I choose to paint the pink wiggly mark with a thick and sheeny layer. This strategy offered maximum contrast and distance between those layers. It resulted in a bold impact, which is setting the grounds for the character of this painting.

Creating a negative space from a previous positive one.

The original state of the painting felt too bright so early in the process. I decided to “shadow” the whole surface with a minty-green delicate splatter to push it backward. It resulted in a new leveled surface on which I painted grey circular marks and drew black patterns with an oil-based marker. The outcome allowed the initial surface to become the negative space from the new layer. Those are the type of results that can’t be planned ahead as I make new decisions while the painting is progressing. I often prefer to work with what’s there and make it work differently, rather than erasing the whole previous work. Allowing the early stages to appear through the shadowing offers a unique background and a fresh start to bring on the painting somewhere unexpectedly new.

Still in progress. To be followed…

Strategies for building layer.

Using multiple languages contributes to achieve depth in the work. I refer to this process as “weaving” layers. It is a method by which I can push back or pull forward different parts of the painting depending on which technique I’m working with. The initial layers in this painting were made with pencils, markers and acrylic paint. The bright blue mark was executed with cold wax. In this timelapse, I’m drawing a new layer with oil sticks to make it seems as if it is unattached to the surface. Being mindful of color, light, shapes, and texture does also contribute to realizing this multi-dimensional impression. Below is an animation demonstrating the digital planning of building layers in this painting.

Using Format