Back from the madness that is the holiday season, I've finally completed some more large paintings. Also, my broken camera decided it was tired of being a drama queen and now works again. I hope this is foreshadowing of the rest of my encounters with technology--that if they break I can just ignore them for a while and they'll fix themselves without requiring effort or money on my part.
Actually, more than likely, my luck with technology has all been spent up and my next blog post will be scanned in at the public library after I had to write it on a typewriter.
So! Onto the artwork. The two seen here are additions to the Home collection, and are finally finished after much deliberation. On top we have The Storm Gatherers. This is one of the rare instances when I've made up an image to go with a title, rather than the other way around. The title comes from a Henry Darger piece, which is actually titled A Storm Gathers but, like I often do, I read it wrong and thought it said something cooler. The end result is this painting, 44 X 46 inches and about three thousand pounds of stand oil glazes. It features a theme I've been liking lately, which is an organized group of small girls, who seem unassuming but who are probably up to something nefarious, in this case, summoning a storm with the help of lightning rods, weather vanes and a barometer. A similar clutch of these girls can be seen in The Harvest. Most of the girls are based on photographs of me when I was little, and the outfits are actual clothes I've owned, namely ballet recital costumes and summer dresses. Stylistically, this painting echoes The Discovery of a False Moon in its glazy, open field-setting.
Then there is Outlands, whose bizarre size (8 X 18 inches) was dictated by the size of the fabric on which it is painted. This fabric was not purchased, but rather came from an old skirt of my mother's, so I didn't have the luxury of choosing a reasonable size. I wanted to do this painting for a long time, but couldn't find small enough stretchers until recently. Also, although I like the way it came out, I don't recommend painting on old fabric; it gets fuzzy and when gessoed (gesso'd?) the fuzziness ends up as stiff lumps and detail work is very difficult. There is also a hole in the fabric, which is hard to see but obviously not ideal, and overall the fabric is worn and not as structurally sound as new fabric. But I still like it. The figures are taken from photographs of my mother (in the white shirt, center) and some friends from her Brownie troop on a field trip in the early '60s. Like the ones used in the Huntington paintings, the photos are kind of weird and don't have a feeling of being in a specific place.