Take a look "behind the scenes" at the layered abstract process.
Abstracts are sometimes misrepresented as "simple" or "easier" than realism when they actually can be quite intricate. Hopefully, a look at the way these paintings are made can dispel such notions.
I wrote this post to show some photos of a work-in-progress, Ikat abstract brush painting in a deep, indigo blue.
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| The current commission is a larger variation based this finished, blue and white ikat original |
Here are the process photos for the new, 2ft x 4ft variation:
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| These first, white photos show the texturing of the surface, before any paint is added. |
The next step is a light glaze, with expressive, gestural brushstrokes that begin to structure to the piece.
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| The piece will eventually be hung horizontally, but for these first strokes, I can get better control by turning the painting to be four feet tall. Luckily, that pneumatic drafting chair pictured can adjust to quite a height, so it is possible to reach the top of the piece while still sitting. |
Now, for some thick, textured brushstrokes and knife strokes. I love how the painting looks at this stage. In the future, I plan on doing another painting that stops at this stage with it's energy and drama, but, to make this piece a soft ikat as promised, I need to keep layering on top of this particular painting.
This is how the whole piece looks when the darkest, translucent glazes are added. Texture hides beneath the color at this point and needs to be brought back out again.
The following four images are all closeups of the painting as it stands now, with white drybrushing over those darkest areas. There is still a week's worth of refining to go, adding lightness back into the picture by using soft, wide brushes that delicately graze the surface to make soft, subtle transitions from the lightest white areas.
I'll be sure to post a picture of the finished work soon. :)
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