… sometimes you have to sacrifice and rework previously finished, precious areas to make it better.
This is from A Brush with the Real: Figurative Painting Today by Marc Valli and Margherita Dessanay (2014). In this book, each featured artist has a section where he talks about his or her work under somewhat (but not always) consistent headings. I’ve picked out the bits that I like. This first is from Dan Witz:
I’ve always been mesmerized by Old Master paintings. Not so much the imagery, but the presence, that brief miraculous moment of transferral to the painting’s space — when you’re there, you suspend disbelief and surrender yourself to the painting’s universe. This is what has always excited me about art — that crazy moment when you leave your body and go down the artist’s rabbit hole.
Next is from David Brian Smith:
Materials and Process
… Painting is easy when a piece obviously needs a lot of work and you can see the problems. In that case, I know what needs to be done. When a painting is already good,things are much more difficult and sometimes you have to sacrifice and rework previously finished, precious areas to make it better.
[ … ]
It takes time to find an image, make a successful painting from it, trust and understand the source and develop a sense of ownership. An image has to transcend its specificity and relate to an audience when it leaves an artist’s studio in a reworked form. How will a figurative painting be perceived or read?
And finally, from Masakatsu Kondo:
On the role of painting
Art is never hemmed-in by a subject, it is an opportunity for travelling into images. I keep visiting the gallery to look at them intensely to confirm what’s there … what I can feel instead of what I can read. Paintings force you to have a physical relationship in space as well as involving you, forcing you to check details, layers and senses.
My most recent previous post from this book is here.