I wanted to share a bit about the process behind my latest painting and show some pictures from the stages of it's evolution. I'm glad that I documented it pretty well and I hope you enjoy seeing how it developed step by step.
'Anamnesis', 30cm x 40cm, oil on linen, 2021
Original painting is available for purchase.
Like most of my artworks this one began without any plan. I prefer working this way as it turns every step in the process into an exploration where I'm unsure how the painting will transform, instead of working toward a clearly defined vision as an end-goal. Occasionally I will have a clear vision that I want to replicate on the canvas and there is a satisfaction in anchoring something that previously only existed in your mind in the physical world to share with others. However, I generally find it more fun when you can surprise yourself along the way.
To begin I covered the white of the canvas.
For me it is easier to sculpt an image out of chaos than build it up out of nothing. So the next step is using decalcomania to generate a random chaotic background and begin to visualise the many directions that the painting can take.
I then get into a kind of flow state or trance and just paint with white paint not worrying about colour yet. I think of this stage less as creating and more as cutting away/narrowing down the possibilities. Looking at the chaos I see the potential of faces and figures in many different positions, plants and animals, landscapes, abstract patterns, endless possibilities. Without thinking, I just let my hand define some of the forms while simultaneously sacrificing others (perhaps they'll make it into another painting). Perhaps what emerges is influenced by the music I'm listening to or an intention I'm holding but it feels automatic, like I'm not consciously making any choices or trying to control it.
It became clear that this was going to be a symmetrical composition with a figure in the middle. Next came a blue glaze to push back the white and then another layer of white on top.
More white.
Now some eyes have appeared at the top of the painting but as you can see it's still all pretty messy and loose. With the next colour glaze I used a yellow on the figure to begin to make her stand out from the background.
With every layer I get a little more precise and add a bit more detail than the last. I then broke up the colours a bit more.
At this point I start thinking a bit more consciously about how to achieve some realism in the figure, the trees emanating from her, and the eyes. The ideas are down now and I just need to evolve and define them.
I wanted the central pillar to be relatively lighter so I started to add some darker tones around the sides, while further defining the figure. I also wanted to integrate the eyes into the background more.
The final steps were going in with a tiny brush and a mahlstick while holding my breath to finish the figure. In hindsight I could've made my life much easier by painting this on a larger scale (the figure is smaller than my thumb). I also pushed the darkness further to create more relative light in the middle, and integrated the colours.
Thank you for looking!
If you'd like to see more of my work visit:
https://philjoannides.com