crazy mess, trying to synthesize ideas

watercolor composition sketch

This is a rough sketch in which I am attempting to patch together visual ideas of various garden and summer memories from this year and last, using various reference photos and sketches and fueled by the waves of positive feeling I get when looking at certain Bonnard and Vuillard landscape and interior paintings.

Being in Paris this May working side by side with E. in a more in depth way than we have before gave me a new sense of creative possibility.  This developed from the experience of seeing what E. observed and how she translated it to the page or panel.   I was right there with her to see all of the same “reference material” (sights we observed together, people , colors, shapes that caught our  interest, actual photographs that she and I took, sketches she and I made, paintings we saw together and discussed) and then see how she synthesized and edited that various information to create a visual idea for the page/panel.

Another example: in the alpine garden at le Jardin des Plantes  I saw how E moved elements in front of her around in her composition rather than painting things how they appeared from her point of view as though she were translating from a viewfinder.  But other times it was more complex, she would knit together many elements from our experience.  And I did too! Sitting at the kitchen table in our little apartment in the St. Germain I mixed both of our sketches and photo references and inspirations from paintings we’d seen to make my own.

Interesting to me is the fact that I can hear myself advising my students to pick and choose the things in their field of vision and include them in a composition even if they wouldn’t be seen through a viewfinder from that point of view.  But when making my own pictures I tend limit my references and my point of view.  So the idea of combining different points of view, places, people and things feels radically new.

This sketch, the fact that it is a contemplation for a larger painting and a new way of working, also reflects the influence of one of my students who works on large-scale projects.  Week after week she tackles projects that would terrify me with their emotional freight, pictorial complexity and combined references. Yet another experience that is changing my sense of possibility.

It is terrifying though because of the increased number of choices and options, my beloved “good angel of certainty” is gone, but it is worth it.

Ile Saint-Louis, Paris

I’ve been painting this in my mind since I saw it in Paris a week or so ago. This woman and her rabbit were on a bridge on the Ile Saint- Louise in Paris. As soon as I saw them, I saw the painting I wanted to make; two forms joined in the great dark that was her skirts, minimal colour, just the large shapes to tell the story.  The rabbit’s leash is some kind of joining piece and  seemed like a life line too, for both of them. This is the first sketch.

Goodbye Paris

figure sketch on the platform at Gare du Nord paris

Figures that E. sketched on the platform at Gare du Nord and finished up on the train along with a portrait sketch. We are now both en route, heading to our respective homes.

portrait sketch

le Jardin des Plantes

jardin des plantes

Friday we took the Bateau Bus to the Jardin des Plantes.  After finishing my sketch I walked over to E. and looked at hers.  I loved it and pulled out my camera to take a photograph of what she was looking at.  But the painting wash’t there.  All of the elements were there -the particular plants shapes, color cues, various figures moving in and out, pathway-but E. had used them as raw material and gauged their scale and position to create a dynamic composition composition .  It was exciting to see. (I was sitting under and to the left of the tree on the right of E’s sketch.  Her sketch is 5″x8″, in a regular, light-weight, moleskine sketchbook.  Mine is 5″x7″ on aqua board.jardin des plantes watercolor