yesterday i had an exciting moment when a sheet of 1/8" masonite was delivered to my studio & cut down to the size of the stretcher bar, 72x38."
the masonite was then secured to the stretcher bar and the canvas stretched over it. this may be a solution to 2 problems simultaneously: how to scrape into the fresh paint in a way that doesn't force the canvas to belly, and, more important, how to collage paper onto the canvas and apply it and smooth it out in such a way that there are no air bubbles. this can be very challenging on a stretched canvas with no hard surface underneath to press against with a spatula.
this solution, plus the switch from neutral ph glue to acrylic matte medium as a bonding agent, which is FAR easier to work with, i owe to the advice of fellow gremillion artist john pavlicek. thanks john!!
when you have an arm/hand/elbow problem as i do now, you realize just how physical the act painting can be.
so far, so good. but i haven't yet reached the stage where i lay down the collaged paper. probably tomorrow. if i can make the paper to canvas transition seamless, as i've already done on yesterdays much smaller painting, it will be cause for celebration!
not going out to the creek to paint pleine air today; there will be too many memorial day weekend people camping and i prefer the stillness, with only the sound of the roaring creek. besides, if anyone spots me while i'm painting & i don't see them till they're very close, i jump a mile! and if they have a dog and it jumps up onto me...........
listening to thelonious monk at the blackhawk live, playing epistrophy. i think my new work is close to the jazz spirit of riffing on a theme., and feel close to thelonious, who i once saw live at the 5 spot.
stage 1: yong creek 72x38"
acrylic on canvas