 |
| l'oignon watercolor |
I believe in endless possibility. In painting. In life. Each element is a variable: the medium used; the paper used; the choice of brush; the color palette; an artist's individual sense of aesthetic; the force and rhythm with which the surface is stroked; and so on and so on; scooby-doo-be-doo-be. Harriet Elson, a regional watercolorist whom I so admired, used to refer to caressing the surface. Therefore, those detractors who feel that in representational art, "it has all been done before" are out of line, out of touch with the individual and the endless choices made by that individual. My opinion, of course. Somehow, we representationalists are made to feel lesser by the modernists whose squiggles and random shapes require page-long explanations of the work. Truth is, I believe that we all matter. That our work matters. That it can all be appreciated. The work and website of Wendy Artin, an American watercolor painter who lives and works in Rome, was forwarded to me by fellow artist Tom Auld. It is truly spectacular. She considers and reconsiders. She is representation. And she wields a soft caressing brush.
I have chosen my painting "l'oignon" to accompany this entry, as I feel it is perhaps the most sensitive watercolor I have done to date. Of course, most in my circles would call it a watercolor sketch, as it doesn't have the power (and background) of a powerful painting. And, most likely, it would never be accepted into a major exhibition. Too small. Not enough impact. But sensitive I think.
