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| Rug, 1920-40, hand-spun wool with natural, carded and aniline colors. P.182, from Weaving of the Southwest by Marian Rodee |
The rug above was the starting point for the painting. I knew I wanted to use more colors and vary the thickness of the X.
The grid is hand drawn and not perfect. There's bound to be inconsistencies and mistakes in the patterns drawn, which is the look I'm after. I don't want my paintings to be polished or precious.
I flipped the painting and added 2 rows of stripes (a current favorite form) in ugly colors. I like using ugly or discordant colors at times to create some friction or discomfort. I also sanded the stripes a bit. I turn my paintings around as I make them to gain a different perspective.
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| Jane Busse, Rug in Karakul and Icelandic wool. P.58 in Geometric Design in Weaving by Else Regensteiner |
The pattern on the rug above was repeated over the X pattern below.
I also sanded the whole painting, including the stripes again.
I added white stripes and bands of color to the top. That didn't work, so I decided to gesso over it to start again. The bottom was somehow too strong and I wanted to soften it a bit. The sanding didn't do the job so I drew (with light grey pencil) thin lines coming from an off center X (lower right).
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| Right Page, Boris Kroll, Channel Plaid, 1980. He credits the weaving of Anni Albers for inspiring this design. P.152 from Bauhaus Textiles; Women Artists and the Weaving Workshop |
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| My sketches of several designs from Bauhaus Textiles; Women Artists and the Weaving Workshop, including Boris Kroll's design above. |
I turned the painting again and added the Boris Kroll inspired stripped pattern. Leaving above and below it remnants of the earlier stripes. This is where the painting is now. Almost done, maybe.
So awesome to see your process! The whole time scrolling down, I was thinking each stage looked really cool, but at the end it truly comes together as a stellar piece of art. Amazing how many layers are in there. Thanks for sharing!
ReplyDeleteWell that was an awesome little taste of your process. Thank you for sharing. :) It's hard to convey depth over the internet but I wonder, can you see each layer in the work in person?
ReplyDeletethanks Misha and Jesse! Jesse, some paintings you can see some of the layers underneath, some get totally lost. it all depends on what the painting wants. i may decide it's best to totally obliterate a layer becuz it's just not working. it also depends on how much sanding i do. i have some close up shots on my Etsy shop (http://etsy.me/WnS11r). in general i'm not so concerned with showing ALL the layers that make up a painting, it's more about the painting not being too precious so that drastic changes can occur if need be.
ReplyDeleteMs. Sanchez, I recently purchased a limited edition of one of your Navajo-inspired works. Thank you so much for posting this look into your process. It has given me a delightful additional insight into the painting I will enjoy through my life.
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