Friday, May 5, 2017

Post #140: It Ain’t Over ‘Til It’s Over

You all know the famous Yogi Berra quote: ” It ain’t over til it’s over.” Of course he was referring to baseball, a game that has very well defined rules as to when it’s over. If only we artists could have such an easy time! At what point is a painting finished, or, is it never finished? Or is it only finished when all the spaces are colored in? There’s an oft-heard saying in the art world that there are two people involved in the creation of a work of art: the artist who creates it, and the person who takes it away from him.

I briefly alluded to that issue in my last “Dear Reader,” explaining how I was struggling to decide whether my latest paintings were finished or whether I could go to the next level without destroying what I had. It’s not just artists, all creative people face this problem: writers, composers, etc. We all struggle with the decision of when to leave well enough alone. In art, there are no rules the way there are in baseball that tell you when the game is over and you can go home.


A couple of readers responded to my plea for direction by firmly telling me they liked the pair of paintings I showed in my blog and thought I should leave them alone. But how could I be sure? We artists have all had both good and bad experiences, ones when “just a few strokes more” ruined everything. On the other hand, we’ve also experienced the alternative when, by being persistent, we’ve come up with something new and wonderful. Most of the time, however, I hear artists complain about not knowing when to stop..

Here’s some hard-learned points:

1)    Keep your work reversible. I always start with an umber toned canvas, the color of wrapping paper. When the water-based ground is dry, I create a charcoal drawing from my imagination, without a sketch, often working on it for days until it’s “perfect.” When I’m satisfied with the drawing, I spray it with matte charcoal fixative. That way I can always get back to my original image no matter how many layers of paint I apply afterward.
2)    I prefer to work in oil, rather than acrylic even though acrylic is less toxic and easier to clean. I decided that oil was worth the extra trouble because it’s removable and allows you to change your mind. With acrylic, once it’s dry, you can’t paint over it without losing the layers.
3)    This is awfully obvious, but put the piece away and work on something else. Even a few hours of separation can let you know if you are going in the right direction.
4)     I offer this suggestion cautiously because it can easily backfire: Get a friend you trust to look at it. Over my painting lifetime, I have only known two people who could really be of help. Most just try to push me in the direction they are going in themselves and their opinion ended up doing more harm than good. It once took six months to undo damage caused by someone’s well-meaning suggestion. My late husband (a retired child psychologist) became an “Outsider Artist” in his old age (and a remarkably good one). Whenever I would try to give him advice, he would put his hands on my shoulders and give me a gentle shove out the door.
5)     And last but not least: Less IS More. It’s terribly easy to overwork something. You don’t need to spend a long time on a piece for it to be finished.