So November was a crazy month. Not as crazy and hectic as Sept and October or even August, but crazy nonetheless but I had two paintings on a schedule. Again. Yes.
I was asked by a volunteer at El Aguila in Salinas, where I showed my Dias de los Muertos paintings for 2 weeks, if I had any artwork pertaining to the Mexican Revolution. Coincidentally, my brain was pushing me to work on an image that had been wanted to be put to canvas so I said, 'No, I don't have any paintings, but I can produce one, maybe two'. These would have to been done by the 18th of November since the Mexican Revolution anniversary show was on the 19th.
So, my relaxing month that I had promised myself, was put on the back burner while I worked away on some paintings. My husband hasn't seen me since the honeymoon! I practically live at the studio now.
Below are two paintings. One small one of the woman in the serape is untitled. The other, the big painting of the lady in the yellow blouse and the bandolier is entitled Soldadera.
Here is the sequence of her evoultion
Acrylic on gesso masonite board. Generally, when I start a painting I go full out with the colors and then work my way backwards. Not the best of ideas but the image in my head wants to be born!
I was not feeling the above image. She looked to fearful to be placed in such a bright landscape. Also, another thing about me, I hate working backgrounds. I usually have this image in my head that wants on canvas and I do it, but I don't think the background thoroughly through so I end up getting frustrated with the painting.
The image in my head is supposed to capture an emotion. A moment in time. A story peeking out from behind the eyes of the lady. By my train of thought the surrounding scenery/background is supposed to help push that idea/emotion/moment etc. but I get lost.
After a while of struggling, sometimes the paintings talk and demand a change of scenery when things just don't feel right, so I scrapped the bright background and opted for something else. Other times, the critiques of my friends help along the way too. Some said they loved the above scenery and loved the way it was going but, my gut, and the painting itself, tell me it's just not working.
My mother always says to follow your gut. So one of the few times, I did. (I'm usually very indecisive. Don't look at me like that. I'm a Libra!)
I was getting more pleased with the scenery, but I knew, and obviously, I wasn't quite there yet.
Almost done. She seemingly more comfortable in this terrain. It's not as natural as I would like for her, but she seems to understand it and feel her surrounding. She meaning the lady in the painting. My work is alive. I'm crazy. I know. Shh.
Hmm... seemed to have forgotten to take a photo of the final piece. I will post it soon. Pretty much touch ups all over and additional spines and fruit to the prickly pear cactus.
Now on to Soldadera.
Again running full force into the main image. Getting the basic underlying colors down. Feeling the space out. Even in this preliminary stage she's kinda creepy without eyes.
A little less creepy and more bad ass, dontcha think? I am not quite sure what's going on with her elbow.Here, her hat starts the drive me nuts. The shading is strang to me. I don't want it blending with her skin tone. Nor do I want it too haloish.
So here she is becoming more alivish. I decided to move the cactus scenery from the other painting to this one. For some reason, painting the prickly pears was one of my favorite parts. The sky was looking a strange blue but eh. It was eventually going to be fixed.
BAM! There she is. Notice the eagle in the background with a snake in it's talons. Hint hint. Mi mama made a good point about her nails. A woman solider in the field wouldn't have well manicured nails. Yes, mom, you're right. I fixed her nails after this photo was taken. Granted I do have a hard time with painting hands, I thought I did pretty well with this one.
Loving the cactus!
And here she is at her post in El Aguila. She's at #34 Central Ave, Salinas CA, between the Steinbeck center and house. Just look for the crazy flags. I took lots of pictures of the surrounding objects. Loving the pink top and skirt next to her.
So that's what I did for the month of November. I relaxed and tried to stay warm and enjoyed two Thanksgiving dinners for the remainder of the month and also celebrated a birthday with a close friend of mine. I will be posting pictures of El Aguila, Thanksgiving dinner and the party soon enough.
Hope you enjoyed seeing the evolution of my paintings. I put loads of energy and lots of time into my work, missing out on friends, family, and the hubby, working wee hours into the night, and I am NOT a night owl. I would hate to put out work that I am not pleased with, and I was very proud of these for such the short amount of time I had.
I wouldn't have delivered them if I wasn't happy with them, but then again, it doesn't completely match the image I have in my head. In my minds eye my work would be perfect, to my standards, but my hand and mind don't connect that way. I've had to take two different views of perfection. What will always be in my head versus what I am skilled enough to produce.
Do any of you consider yourself perfectionists? Do you refuse to put out work whether it be in the creative field like art or writing because it didn't meet your standards of perfect? Anyone understand what I mean by my two different views of perfection? Lemme know.
I would like to hear from you.
And not just the voices in my head. :)
Stay warm out there!