After Venice

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Sometimes the studio offers up more then just the finished canvas. These are pictures of the walls and floor after the canvas was complete

 

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blank wall, 2009

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Venice Rising

Venice Rising, acrylic on canvas, 2009

Venice Rising, acrylic on canvas, 2009

 

I often describe the finishing of a painting as a complete emotional release where I transform from artist to viewer, letting go emotionally (and physically) from a work that has probably consumed dozens if not hundreds of hours and weeks and months of my time. You could describe it as very similar to the break-up or ending of a relationship.  There are moments where I just sit there gazing at the finished canvas, experiencing a wave of emotion, letting it all out, at times even crying uncontrollably. I did that with my Angel in the Forest painting for sure.

People ask how I know when a painting is finished to which I respond, usually when I sign it. Actually, the period of time when a work is finished is a very interesting part of the creative process. I began Venice Rising almost 5 months ago as an idea or exercise in documenting my creative painting process and posting pictures of the work in progress on my web site for people to not only see but to participate and become directly involved in and yes ultimately influence the direction of the canvas. My works change dramatically from the beginning sketch to the final layers and I wanted to share that. I do have to admit at times it was difficult because I believe most artists only want to show their best works and best efforts, as I do. In fact it has taken me a long time to get over my fear of showing my art publically because I never know if a finished piece is good enough. Opening up that process was a very healthy exercise for me personally and I hope for you as the viewer and participant.

As I now sit back and look at the complete painting, I look at it like you, the viewer. I don’t see myself as the artist but as the participant, allowing the colours, lines and forms to impact me in an individual and personal way. I have also realized that the finished canvas is not the final work. In fact the entire process is the painting and the final work and you the viewer have been part of that. We are in the you tube, facebook and twitter age where everyone is the participant and artist.

As the German artist Joseph Beuys (1921-86) stated many years ago, “Every human being is an artist, called upon to engage in the shaping of their lives and the world around them, with the same kind of love and passion that artists have for bringing something that is new and has a coherence of being. Then ones own lifework becomes an art work.”

I would like to end this chapter and the painting from a comment a dear facebook friend and fellow artist Gines Serran said about Venice Rising,

“Gary, I love the work. Every time stronger and more poetic. Art is that, a diary of your life. People may think that the painting is changing but it is the artist who transforms himself. A painting is not an object hanging on the wall but a fragment of the artist’ life, and this is what you so beautifully are reflecting in Venice Rising.

 

 

 

blank wall, 2009

blank wall, 2009

….on to the next painting……

 

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Venice Rising….. an explosion of colour

Venice Rising, late August, 2009

Venice Rising, late August, 2009

It has been over 4 years since I walked the streets of Venice where I took that panoramic picture on top of San Marcos square overlooking the city. It has been almost 5 months since I began this painting from that picture.

 

Each morning when I enter my studio I spend a few minutes and sometimes hours reflecting on the journey that the particular canvas I have been painting has been on. Venice Rising has indeed changed and evolved dramatically over the days and weeks, layer upon layer, colour upon colour.

 

When I close my eyes I try to remember what the city gave me those few early summer days, the impressions that were left, I keep coming back to the colours. The colours of the streets, the buildings, the water, the shops, the glass, the carnival, the atmosphere, the taste….

 

What I wanted to create in this painting was the memory of a feeling or experience, not a depiction. It wasn’t about creating a representational view of the city rather it was about a process of layering and blending of colours that would achieve the glowing richness that the city embodies. Maybe the years have blurred the lines that have defined my vision of the city, and maybe not.

 

According to Lodovico Dolce, (1508/10-1568), an Italian painting theorist and humanist, Venetian artists gradually softened their colouring until their manner equaled nature. Rather than beginning with careful drawings, Venetian painters often worked out compositions directly on the canvas, using layered patches of coloured brushstrokes rather than line to define form. Venetian drawings show an interest in how light will affect a body and how colour will describe it in a painting.

 

It is in those interactions or explosions of colour that have defined the painting now that the canvas is almost complete.

 

Venice Rising, August 2009, detail.

Venice Rising, August 2009, detail.

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Venice Rising….the lost city?

Venice Rising, last week of August, 2009

Venice Rising, last week of August, 2009

Venice painting in progress, April 6

Venice painting in progress, April 6

 

The innocence and honesty of children can be so refreshing at times. My 14 year old daughter came into the studio the other day and I asked her what she thought of the painting of Venice? Well, that was a loaded question!! Her comment to me was, where is the city? “I liked the painting when I could see Venice, Dad.” “Why do you always paint over the good parts of a painting”? Yep…kids, but she does have a point. She is not the first person to ask that question. I do it every day.

 

I am not trying to paint a picture that looks like Venice. That’s too easy, too predictable, too safe. What I strive to create is a painting that embraces what Venice is and what I felt when I walked those narrow streets that early summer morning.

 

The beauty…the richness… the starkness…the smells…the taste… the colours…

 

No matter how dark, cold and grey the city could feel at times, the colours, vibrancy and vitality of life always shone through. You could just feel it!!

 

You tell me? When you look at the 2 pictures here, which one feels more like that town Venizia?

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Venice….the last week

 

Venice Rising, late August 2009

Venice Rising, late August 2009

As with any creative process it is always good to take some time away to relax, recharge and to refocus. I took a few weeks off this summer to travel, unwind, get new ideas and to take some time away from the painting. After dozens and dozens of hours working on Venice I knew I needed some time away. In late August I finally went down to the studio with a goal of finishing the painting. I wanted to “git er dun” as the saying goes. The problem was I wasn’t too sure how to get there.

 

I gave myself the week to finish the painting. Sometimes deadlines, even self imposed can put on enough pressure. This post along with the next 3 or 4 posts will show the progression to the finished painting (yes it is finished but I need to build up the suspense and anticipation)

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Venice…….finished yet?

progress as of June 10, 2009

progress as of June 10, 2009

I have had a number of people ask me if the painting is finished yet, to which I said to myself out of complete dismay, “Can’t you see it is not!!” I realized that it is very difficult not only for the viewer to be able to see when a work is finished but also for the artist. Add on to that my process of applying dozens of layers; I guess I can see how difficult it is to know when I am finished a painting.

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Venice…sometimes you just have to go for it.

 

 

progress as of May 29, 2009

progress as of May 29, 2009

Some times you just have to have faith that you will somehow be guided through the creative process by powers beyond your control. Maybe that is what inspiration is? Today was one of those days. I knew I was going to really tackle and change the painting today. I knew colour, expression and vibrancy would be a part of it. The difficulty is, once you start you can’t go back. Sounds simple but believe me it is not. What you see is the result.

 

I will need to contemplate what I painted for a few days to see where the canvas goes next. The challenge is now to bring the two distinct sides (left and right) of the work together. The softness of  the infused light on the left and the chaotic explosion of paint on the right.

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Venice….listen….can you hear it speak to you?

progress as of May 27, 2009

progress as of May 27, 2009

To those of you who are artists and/or the creative types and anyone else, I pose this question to you.

Can you see what I am seeing and where this painting will be going? Can you hear Venice speaking to you yet?

 Today I really felt the painting speak to me. I have been working on trying to resolve the left side of the canvas, working on this fog, cloud thingy that is still floating on top of the canvas. I am not as much concerned with this looking like “whisps” of cloud flowing over the landscape as I am the feel of this mass of colour, texture and tone.

Today the canvas spoke to me .Today I heard what it has been desiring to tell me and has been craving for me to do. I had originally wanted to create a painting that felt like Venice on a cloudy overcast day. The blues, greens and greys of a misty morning walk. Today the painting told me that is only one part of Venice. Please, please don’t forget the bold and vivid colours of Venice, when you walk the streets, the store windows, the glass, the Carnival and the excitement and the true passion of Venice.

I am almost ready to begin the next half (right) of the painting.

 

Detail of the fog and cloud

Detail of the fog and cloud

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Angel in the Forest is home

Angel in the Forest at Metropolitan United Church, Toronto, May 23, part of Toronto's Doors Open

Angel in the Forest, a large 16 ft x 7ft canvas, was on display at Metropolitan United Church, the historical Toronto landmark church, as part of the 10th anniversary celebration of Doors Open Toronto. It was the first public showing of this beautiful and ethereal painting. Over 2,000 people came through the doors of the church and saw this magnificent work of art. The painting couldn’t have been in a more appropriate setting.

 As one viewer commented,

“We dropped by to see your Angel yesterday at Metropolitan United Church. The Metropolitan Silver Band was performing and behind them was your magnificent Angel. They played a beautiful arrangement of Amazing Grace. When they took a break we went to have a closer look at your Angel – The subtlety of light captured behind bold drippings of pure colour, hanging there on the altar!  It is truly amazing!”

The work will be on view at the Metropolitan United Church, 56 Queen Street East, Toronto, for the remainder of the summer months.

The painting “Angel in the Forest” has been both a work and a life in progress for artist Crawford. In her early days the Angel sat, always poised but alone and vulnerable on the new canvas. Her classical features spoke of timeless beauty. Little did anyone know she would become lost in layers of life, colour upon colour, running, flowing, changing, blending, and clashing. Little did the artist know it either.

Now she stands complete, as all angels do, a little hidden, a bit obscure, and always mysterious. It is deeply pleasing to know she is there among the challenges of the wilderness. We all experience her occasionally, when the undergrowth chokes and the trees bend with menace. Yet, as living beings we all carry stories of new hopes, miraculous encounters, and changes of heart.

It is said that symbols still choose us, so, when we see the Angel in the forest we recognize in it.  We see ourselves, our situation, and the nearness of our rescue. The colours are right, the constriction certainly feels real, and the lady herself is as full of grace and truth as any dear friend we might meet in the clearing of our dearest longings.

 

photographed by Ian Levack

photographed by Ian Levack

Angel in the Forest at Met

Angel in the Forest at Met

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Venice…..the fog rolls in?

Venice, as of May 18, 09

Venice, as of May 18, 09

Creativity and inspiration occur in the oddest ways. I finished the painting today on a very positive note, finally getting a sense of where the work may be going. Just after I stopped I was up in my bedroom taking some random pictures of my backyard. The flash kept bouncing off the glass and created a “fog” over the photo, very similar to the effect I think I am trying to create in the painting. (pic below) It was what I call an AH HA moment where inspiration and creativity collide.

Picture of my backyard

Picture of my backyard

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