Beyond the Aspens three panel triptych 40"x66" encaustic by Kerry D. Peeples
Just like the painting Cement Creek Sweet Spot, Beyond the Aspens is headed to Colorado to live. I wish I were going with her. At least I could hang out with these Aspens in my studio while painting. I'm grateful. Dreaming is really wonderful.
Observation, Memory, Imagination
My painting has always been dependent upon observation, memory and imagination. However, as a landscape painter, when not in the field observation is dependent upon photographs. This often creates a dilemma. Sometimes a photo is hard to paint because it is simply too beautiful. When referring to photographs, artist Martin Poole shares this idea in the Sept. issue if American Artist, “I had to find a way to deny their picturesque quality. It’s interesting to have a photo so beautiful that it actually could make a less interesting painting.”
I have just completed an encaustic triptych. It is a landscape inspired by two of my favorite states; Colorado and Montana. Saying “I’m done, It’s finished” is often difficult, this time was no different. Battles over subject matter seemed to dominate my mind (this was pretty critical in that the painting was a commissioned landscape). I spent a lot of time questioning composition decisions. Were compositional prejudices blocking me from moving on? Other familiar questions rattled in my mind, “Did I deny the “picturesque” quality of this image enough? Is it painterly enough? Where’s the intrigue?” I do know that most often when so many questions begin to surface about a painting, the painting itself is begging for closure; begging to be critiqued so that artist can observe, reflect, learn and most importantly paint another painting, applying all that has been learned from the previous. Remember the prayer, “Dear God, I’ll take care of the quantity, you take care of the quality.” Quality is revealed and produced the more often we do.
Two ideas have taken up residence in my head since this painting. One idea is “compositional prejudices”. Landscape as subject and it being depicted so literally, there is a lot of room for compositional prejudice. The second idea borrows a bit from Martin Poole’s idea of “denying” the beauty in order to make an interesting painting. Am I over dependent on the encaustic wax and process to be the most intriguing element of my paintings? The images I create as well as the process of creating are vehicles I use to encounter God. I love God’s creation; all the magnificent beauty. Just because I am celebrating beauty does not mean the image has to be beautiful itself. Perhaps I need to dig deeper into what really is beauty? I can’t wait for the next image…what will it be.
I have just completed an encaustic triptych. It is a landscape inspired by two of my favorite states; Colorado and Montana. Saying “I’m done, It’s finished” is often difficult, this time was no different. Battles over subject matter seemed to dominate my mind (this was pretty critical in that the painting was a commissioned landscape). I spent a lot of time questioning composition decisions. Were compositional prejudices blocking me from moving on? Other familiar questions rattled in my mind, “Did I deny the “picturesque” quality of this image enough? Is it painterly enough? Where’s the intrigue?” I do know that most often when so many questions begin to surface about a painting, the painting itself is begging for closure; begging to be critiqued so that artist can observe, reflect, learn and most importantly paint another painting, applying all that has been learned from the previous. Remember the prayer, “Dear God, I’ll take care of the quantity, you take care of the quality.” Quality is revealed and produced the more often we do.
Two ideas have taken up residence in my head since this painting. One idea is “compositional prejudices”. Landscape as subject and it being depicted so literally, there is a lot of room for compositional prejudice. The second idea borrows a bit from Martin Poole’s idea of “denying” the beauty in order to make an interesting painting. Am I over dependent on the encaustic wax and process to be the most intriguing element of my paintings? The images I create as well as the process of creating are vehicles I use to encounter God. I love God’s creation; all the magnificent beauty. Just because I am celebrating beauty does not mean the image has to be beautiful itself. Perhaps I need to dig deeper into what really is beauty? I can’t wait for the next image…what will it be.
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