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WATERCOLOR HOPE SPRINGS ETERNAL
Bajo la Luma, represents another example of allowing a painting to age before discarding it, or sending it to the circular file, glue factory, etc. This non-objective painting begins on July 13, 2013. I no longer recall why it remains in the “unfinished” stack for so long. However, in early November 2014, it is rediscovered and selected for a class watercolor demonstration.
THE APPROACH TO THIS WATERCOLOR
I recall the beginnings of Bajo la Luma, is as what I call my “whisk broom” approach. The watercolor paper is first saturated with clear water. After a brief period to allow the water to soften the fibers of the paper, a common whisk broom is used to scar, score, rough the paper’s surface, giving it a different texture than what one might expect of a sheet of 140 pound, cold press watercolor paper.
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Only three, single-pigment colors are used in the development of this watercolor. The approach is direct painting without a preliminary plan, or pencil/black ink line as a guide. A work of this nature just evolves over time, the outcome is always tenuous, and certainly never a sure thing. It might be thought of as painting “without a net.” Sometimes it works, and sometimes it doesn’t. Highly subjective in any case. But then, isn’t that part of what creativity is all about? I think so.
What about a title? It’s fun to title non-objective paintings, and for me, the titles come at the conclusion of the work. Quite often I look to an appreciation of music for a title. At times a painting’s title is based on a piece of music because the melody or rhythm seems suited to the work, while other times the title, has little to do with the painting and is chosen only for the purpose of differentiating one watercolor from another.
In this case, Bajo ls Luma, by the great guitarist Otmar Liebert, is playing on an iPod as the painting is photographed in preparation for posting. The music seemed to fit my mood and perhaps, even the painting.
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