I'm concentrating on my new abstract painting series. I believe it would be another form of the color-field(-ish)paintings that Mark Rothko began. The tie-in to those roots from the New York School feels good. I have invented the name of "color-sheet" instead of color-field. This phrase better describes my works as they tend to be smaller.
I love the clean minimalist white border. The very first painting that contained a white border was years ago. A painting my mom bought from me. I intended to incorporate it into my work from that day forward. I remember; at the time I couldn't make myself use it. I'm not sure why.
Today the white border must be present in every painting in this series; it's the glue that holds everything together; my "signature." It can be easily spotted in any room; busy or empty. I will give myself permission to vary the white border to the size of the painting. This white border sets up a nice point of contrast with the inner border and then finally the color sheet inside and on top of the inner border.
My White Border Rules:
- The white border shall be painted with high-quality artist titanium white paint; acrylic or cold wax & oil.
- The white borders are to never be "blank" or contain raw substrate. I would consider this a disservice to anyone who purchases my paintings. They are buying a painting and therefore must contain paint on all areas of the substrate.
In the series future, I can see endless possibilities. What if the color sheet, the inmost off-balanced shape were to be highly textured and the colored inner border and white border was perfectly smooth? I believe this would result in a stronger, more interesting painting. Why? This would set up another area of opposites for the viewer to engage in.
I could use canvas panel for lighter textured areas and wood panel for heavier textured color sheets. As well as using modeling paste/joint compound I could use layered papers as collage elements in the middle. The excitement is overwhelming of what I could create.