You know the day destroys the night. Night divides the day.

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Following the lead of Nolan’s “Watermelon Dreams on a Starry. Starry, Night” and Adrienne’s “Hay Bales at Dusk” I submit a work in progress “Corbel at Dawn.” Nolan’s painting is one clear antecedent, another is a Mexican Corbel, hinted at in the earlier posted painting “Hacienda Ruin.”  The source image for the corbel featured a hand-carved floral motif repeated through.

Not a WBHD painting per se, but influenced by this blog and New Mexico. Following are some process photos. I am, generally speaking, more about painterly improvisation, but this is where I was this last weekend.  Please to indulge.

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Staining-in the ground colors work and defining the outline of the corbel. No idea where the idea for that shade of green came from.

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Moved inside to Studio Two. Rendering the “carved” floral pattern. Charcoal and, later, pen and ink. Charcoal fixed and whole ground sealed with matt gel medium.

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Back outside to Studio One. Yes, masking tape. Placing tile spacers that serve as masking for the “stars.” The hand-cut floral pattern is a stencil here, later to be flipped and collaged in bottom right-hand corner with yellow paint showing faintly through.

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Yellow enamel spray paint. I am an adult so I may purchase this controlled delivery system.

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Night divides the day.

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The masks are removed.

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More collage, Corbel defined. ~4:00 in the afternoon.

Later that afternoon I added drawing including oil stick and more collage. More collage this morning to bring us to the point you saw top of the post. Bottom left now looks OK up close, but needs some ??? definition to hold up paces back. I’m going to let it rest. Maybe. CC

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13 thoughts on “You know the day destroys the night. Night divides the day.

  1. Great ‘process’ shots Carey. I never thought of fixing charcoal then covering with medium … duh! All these years and it simply never occurred to me – charcoal was always something that went underneath the paint, rather than on top! Love the tile spacer stars too 🙂

  2. Walk on thru, dude! I especially like the photo composition with the blue door background, the angled painting, even the small diamond of the window underneath. Kudos to the photographer.

  3. And for providing some more pix to integrate into my talks in QLD. I’m scrambling as we speak to get a briefing shell put together my last night before departure….love those deadlines!

  4. Photos courtesy of DBA Heather Barrett, AKA Heather Barrett Crane.
    Prodding courtesy of Dave. Are you ready for your close-up Queensland? CC

  5. Hi Jenny, Nolan described similar fixing of water based crayons then varnishing over in her “Watermelon” post. Is good. My Prof HIram Williams drew his base forms in charcoal on raw canvas, then fixed with clear acrylic spray (I think) in some places, painted the charcoal in or out in others. He also used spray enamel to render volume of define edges. More airbrush than graffiti. CC

  6. Hmmm. Re-boot. Spray paint is very “airbrush” in graffiti as well. CC

  7. Carey…Like this one. Of course I would like to see more ‘organic’ movement included with the straight edges. But then, I would have such a hard time putting a straight edge on a canvas as the hand of the artist means so much to me. All those straight edges aside, I LIKE this one and not sure I’d add more. ?????

  8. Hey CC, Those turquoise doors behind you in the photos are just screaming out to be collaged!!
    Nice work. cx

  9. Hi Nolan, I generally like to “break” the cells with movement. Achitecture/organic, yin yang. I am drawn to the signature of the hand in artist’s work. I like that in your new series very much.

    Heather refers to the “restraint” of this one. Maybe recovering from a 2012 DeKooning/Joan MitchellI hangover. Don’t necessarily call this a painting in the way I think of painting. Probably a base line for a looser piece to follow.

    Think I’d like to mash up AbEx and Pop if labels don’t constrain.

  10. Nolan – point of clarification, your hand has been in your work for a long time, not only in your very recent work. Anecdote: Your paintings were hanging in the Las Cruces Museum of Art. A co-worker made a remark about your perceived inability to render a cup. A few paintings away you had rendered a lily with draftsman’s precision. He missed your intent completely. Sigh.

    OK, H will have the computer for a few days, so I’m signing off. I’ll follow from work though. Enjoy ya’lls commentary/company. CC

  11. I really love seeing this progression, thank again CC. I shall do similar on one of my current tree paintings … though there will be a few passings of sunsets to completion, but not too many at the current pace.

  12. haha, thanks for sharing the ‘cup’ info. I love that. I LIKE criticism, even if they don’t ‘get’ it. So far, about the only two people I’ve ever changed something due to criticism or questioning are WinklerCakes and Nathan Oliveira. And neither made BIG suggestions, just enough to make ME think. But saying I cannot render a cup? hahaha, very sweet.

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