The mother colour was yellow. I created a stencil with big shapes, printed it by smooshing paint through it. I then decided on a compositional movement for the whole, and started mark making to emphasize it. At that point I decided on a concept and went back to manipulate the composition to communicate it.
Sometimes in my classes people ask about how you get the ideas for abstract paintings. For me, that's how. I'll start with 'something' - almost anything. Then I turn it around looking for composition. Then I make marks that help create the compsositional bones. At that point I come up with a concept - only because it gives me a bit of an anchor and some direction. I don't necessarily 'marry' it - and it doesn't have to be literal. It can be a 'feeling'.
At this point the conceptual elements exist on the 'stage' of the painting surface and the space and the objects can be pushed and pulled . Next, it's fun to 'decorate' to create interest and focus and to create a path through the piece. It's a very fun, organic, responsive, intuitive process. Lastly I'll 'punch in' the lightest lights and darkest darks - maybe with a different colour too. In this particular line of work I'm using mostly mono printing to unify the painting through texture as well as colour. Monoprinting gives a very particular texture.
Let's try another one.
What will my next mother colour be?
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