Electric Dream, arriving this week. 09 | Oct

With Electric Dream (60" x 40") arriving at the gallery this week I thought I'd share a few in-progress shots of the painting and a little narration. . .

You can see my repositioning of the size and placement of the main figures early on. I knew I wanted something happening at the bottom of the painting to give these central figures a dominant scale, but I hadn't decide what that would be.

Everything pivots around this figure and I needed to establish her first, although we don't see who she is.

The upper part is developing so now I stop to incorporate the lower section and sketch out the elements. Referencing Egyptian hieroglyphics, where the size of the king or queen tower above their subjects to denote importance, I scale down the crowd and building-like structures.

I'm always considering how the ground, the bright colors on the canvas, are interacting with the figurative elements I'm developing on top. In person this dynamic occurs much more than what is seen here. The negation and reestablishment of these bright colors was a constant conversation I had with the painting.

I'm always considering how the ground, the bright colors on the canvas, are interacting with the figurative elements I'm developing on top. In person this dynamic occurs much more than what is seen here. The negation and reestablishment of these bright colors was a constant conversation I had
with the painting.

Final Painting: note the two small girls in the bottom left corner that brought the painting together. It would fall apart with them . . . they act like little anchors on a big ship.

There are many ways to read the painting, perhaps a direct literal translation might not be the most engrossing. Much like recalling a dream upon waking, we thread a narrative through the imagery but there are many gaps that need to be filled in, in order for any type of coherence to happen. Maybe these elements as presented, which are a quilted patchwork of imagery, didn't all unfold in this fashion? A broad fragment of a narrative is being uncovered but we might not know what is entirely happening or what is going on. As with many aspects of our lives these events or experiences can be revealed and concealed at the same time, and in the moment the outcome may not be clear.

Embodied cognition is the theory that thoughts, feelings, and behaviors are grounded in bodily interaction with an environment and provides the fuel to concretize a memory. The key word being environment, a term that has much flexibility. It could mean an entire room, or a mere detail on the wall, or even a color. They can all function to instill a memory, creating a guidepost to allow us to access when needed. It is these stories we tell ourselves that are the founding of our identity.

(I've tried to sum up a lot. It is a complex line of inquiry with many slippery edges. So, if it's unclear I apologize. If that's the case, reach out and let me know -> joshbflint@gmail.com. Or contact the gallery and they can put us in touch.)

Although I Finished… 08 | Oct


​...this painting a while back, I forgot to post a picture of the finished product. “us 28 (can’t look away)” 12x18” oil on panel $4,500



Kerry’s Latest 06 | Oct





38” high x 57” wide pastel from Kerry Simmons

Tag: Kerry Simmons


Before the Breeze 27 | Sep


Finishing up a new 36 x 36 in. painting of one of my favorite places this
week, NY's Adirondack mountains. I just have to wrap my head around that
reflection, add a few floating bubbles and it's done.

-Brett



On Our Last Adventure… 25 | Sep

...my wife and I didn’t see a single soul, but were treated to a few lovely vistas while biking the northern edge of Lake Moultrie. Normally I bring my big camera when we go out, but this time I forgot it, so I used my iPhone 7+ instead to capture two panoramic images, which I blended into one:

It is a neat process, made possible by the people who make Adobe Photoshop, and in case you’re into this kind of thing, I decided to describe it here.

I start with the first panorama, then increase the canvas size to give the image room to grow. 

Next I pasted the second panorama into the image, roughly lining it up with the bottom pano. The goal is to have two separate exposures, one set for the ground and one set for the sky. So when I was shooting the scene, I used the AE/AF lock (tapping on screen where you want to set the exposure/focus and then holding down your finger on that spot) to keep what I wanted exposed correctly.

Then I switched the layer order and lightened the foreground (by reducing its opacity) so that I could see through it to align the two layers.

Next I used the flipping super cool “Camera Raw Filter” to pull the black out of the under exposed foreground and transformed it (free transform then warp) to almost match the foreground. You don’t have to be perfect because in the next step Photoshop takes over.

When you do most of the work above manually, I’ve found that Photoshop’s “Auto-Blend Layers” does a much better job getting the rest right, combining the two images together. A simple “Free Transform” and some guides help to straighten up landscape.

Finally, the biggest decision of how to crop what you’ve captured comes in. I usually copy and paste several crops into new documents so that I can toggle between them to choose a favorite. Then one more “Camera Raw Filter” and a “Levels” adjustment in this new document cleans up the colors and eliminates the lingering grey. If you then save the two separately, you can have one process document and one final. That way, if you ever want to go back and re-crop or color edit differently, you have the option.

Now I may never decide to paint this image. I would guess that I paint one out of ten panoramics that I build. But either way, it is a fun process because in the end you get to see a landscape in a similar way that you would see it if you were standing there. And in the end, especially when it comes to painting realistically, it is the little things that make all the difference! -jb.

 

Painting In Clouds… 25 | Sep


...and little islands in my latest long and skinny painting. -jb.



Matt Bober’s Studio Today 22 | Sep

 

 

The Latest… 05 | Sep


us 29 (One Drop of Truth) oil on panel 22 x 39” $14,000

Drop by my studio at RLS to see it in person!




New from Adam Hall 05 | Sep





Ready 01 | Sep




Everything is varnished, framed and ready to be dropped off Tuesday. Come join us this Friday for the opening of At Summers End!

Jessica


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