I’ve finally completed 20 oil studies for a private large scale commissioned painting of Benovia Winery's vineyards in Healdsburg, CA. This commissioned painting is a very personal and everlasting Christmas present to a special husband from his loving wife.
Today is a day of editing. Part of my process of creation is in fact, destruction. Editing involves deciding which oil studies will stay and which will go. In this process I also realize what still holds my attention, curiosity, and creative energy. This is key. Because I need to have this creative energy to successfully reinterpret an oil study on a larger scale. So I’ll give my lovely patrons some choices, but I’ll also provide my experienced recommendations and insight.
It’s like a mini beauty contest for each oil study. I literally line them up in order of my best to, not my best. This requires serious critical confrontation but it’s also a release. I get to ditch what’s not working, I realize what is, and I gain obvious and subtle insights into my work.
One consistent aspect of my work is that those subjects that intrigue me most, but that I’m not so attached to, always come out best. It’s a delicate balance of opposites, of remaining engaged yet detached, like destruction and creation.
Many collectors will ask, “What do you do with these rejects? May I see them? Buy them?” It would be like showing the reader my first draft of this post. The answer, “Of course not!”
The rejects are destroyed and this act of destruction is energizing and provides fuel for more creating.
Let the Editing Begin!
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I’ve finally completed 20 oil studies for a private large scale commissioned painting of Benovia Winery's vineyards in Healdsburg, CA. This commissioned painting is a very personal and everlasting Christmas present to a special husband from his loving wife.
Today is a day of editing. Part of my process of creation is in fact, destruction. Editing involves deciding which oil studies will stay and which will go. In this process I also realize what still holds my attention, curiosity, and creative energy. This is key. Because I need to have this creative energy to successfully reinterpret an oil study on a larger scale. So I’ll give my lovely patrons some choices, but I’ll also provide my experienced recommendations and insight.
It’s like a mini beauty contest for each oil study. I literally line them up in order of my best to, not my best. This requires serious critical confrontation but it’s also a release. I get to ditch what’s not working, I realize what is, and I gain obvious and subtle insights into my work.
One consistent aspect of my work is that those subjects that intrigue me most, but that I’m not so attached to, always come out best. It’s a delicate balance of opposites, of remaining engaged yet detached, like destruction and creation.
Many collectors will ask, “What do you do with these rejects? May I see them? Buy them?” It would be like showing the reader my first draft of this post. The answer, “Of course not!”
The rejects are destroyed and this act of destruction is energizing and provides fuel for more creating.
