amberella
Last Week of Painting. Part 1
Last week to paint. I have to use the time in March to varnish all the paintings, photograph them all and promote the show. In addition to painting this week, I also have to write an artist’s statement, a bio, and get a promotional image together. Oh, and I very much want to do three runs of prints.
Anyway, this week is about painting. I’m painting the skin and shadows in first. They look a little creepy without eyes and lips. But you have to paint light to dark in watercolors. We’ll see if I can transform these from Fluid Creepy to Fluid Beauty by the end of the week.
Sunday night:
Monday night:
Tonight I hope to work on two paintings. We’ll see.
Getting it all done in time for the show
I had a bit of a meltdown on January 28th. If you know me personally, you know on the outside my meltdowns aren’t very noticeable. On the inside, I had done the math, and realized with my current pace, and the time remaining until the end of February, divided by the number of remaining paintings I had to do for the show … well I was going to run out of time.
Unsure of what to do, other than doing the math over and over again, I talked to Trish about it and she suggested that I change the way I had been painting. Instead of painting a complete piece, I could use the technique that I had used in 2006 when I did my first series and that I use often when I do my Halloween paintings.
Sunday, January 24th
Inspired by this and running on fear/excitement adrenaline, I started painting. I wasn’t sure exactly what the color scheme was going to be for the next seven paintings, or even the style, but I found myself using an old technique that I wanted to bring back soon and after about a half hour, this was the result:
I put that off to the side, still drying and then did this:
The technique was similar to one I used in late 2008, but I hadn’t tried it with the new watercolors I was learning how to use. This time I put water down, then threw paint down.
I felt very differently after I had painted those two. The plan was to paint every night, for about a half hour to an hour. Just before sleeping. Working on the same type of stage on all seven. Backgrounds, then fabric, then hair, then portraits. While I began to work on these paintings, I also had to prime two 24″ by 48″ canvases with the magic watercolor gesso.
I had planned out five pieces that work work together:
Wednesday, January, 27th
Thursday, January 28th
Friday, January 29th
Sunday, January 31st I drew the images on the two 24″ by 48″ canvases.
Monday, February 1st
Wednesday, February 3rd
Another view
Saturday, February 6th
Monday, February 8th
Tuesday, February 9th
Wednesday, February 10th
Thursday, February 11th
Saturday, February 13th Did this:
and this:
Got some nice feedback on Twitter. That really helps me keep painting.
Sunday, February 14th, I did this:
Then reworked it:
Knowing I had to finish the fabric, I worked on this:
some more
Monday, February 15th, I realized I had to wrap up the next stage, the hair marathon. In order:
You can see it’s getting crowded in the studio.
I hope to finish these seven paintings by 2/28.
I’ll have an update next Monday.
How’s that gallery show coming along? Or: Why I redid everything
The work for the gallery show is coming along. Yeah, I’m behind schedule. But, yes, I’m confident I’ll get it all done.
I’m working on a lot these days, so I haven’t updated as much as I’d have liked. I’m going to keep at it to get all the information up here.
The work for the show is going to made up of four separate series. The first, called “Reflections” is about personal development and evolution. It’s also loosely based on Tool’s Lateralus album which deals with the same themes.
Here’s the work I did for the Reflections series in August and September just before our baby boy Patrick arrived. I was ahead of schedule and had five out of what I thought would be twenty-two paintings I needed for the show.
The originals: ahead of schedule
And here’s the work I did for the Reflections series in November and December. I have four for what will be seventeen paintings.
The re-dos: behind schedule
Why do some of them look the same?
Because I can’t use any of the originals and had to redo them all.
Why?
Here’s the story.
Fade out
The week after Patrick was born, I did some tests because I knew the Dr. Martin’s dyes I used would fade in sunlight. I’ve known this for years, but figured someday I’d deal with it. In the summer, when I discovered UV protectant sprays, I was confident I didn’t have to worry about the fading. BTW, the UV spray I bought happens to have an ingredient that causes cancer. I used it outside. And before Patrick was born.
But it didn’t work.
I painted a canvas blue. I added some purple and some bleach to see how the sun would affect them. Then I sprayed half of it with the UV spray. Then I put a post-it on the canvas. Then I left it in the window. This would create:
- Half a canvas exposed to sun
- Half exposed to the sun, but protected by UV spray
- A little square that was not exposed to sun
If things went well, the little square and the protected half would be a rich, deep blue.
But they weren’t.
Both exposed sides faded.
No problem, I thought, I’ll just try a different UV spray. The kind that doesn’t have an ingredient that causes cancer.
Same problem.
The Fugitive
So I did some research online. Turns out the UV spray is known not to really work, and the Dr. Ph. Martin’s dye-based Radiant Watercolors are not lightfast. I learned that “lightfast” means “doesn’t fade.” I also learned that “like all aniline dye base colors, they are fugitive when exposed to direct sunlight over time.” Also that they “are primarily formulated for graphic arts work on paper surfaces intended for reproduction.”
F.
It’s not how you fall, it’s how you get back up
So now the search was on. I had a lot of questions? Should I pay for frames and museum-quality UV glass? Should I paint the show in oils? Should I cancel the show? What other paint can I use?
With an intention to paint all the paintings in oils, which I had learned to use just a few months before in early in ‘09 …
… I decided to try some inks and watercolors first. During my research, I learned that Dr. Martin’s makes Hydrus Watercolors. Which are lightfast. I also learned about India inks (surprise, they come in more colors than just black) and acrylic inks. All lightfast.
I also liquified some water-based oil paint.
In the lab
Then I set to experimenting.
You may be able to see that I exposed half of all these squares to sun with a lot of tiny post-its covering half of each square. I also added bleach to some, because that turns the dyes to white and I’ve become pretty dependent on that affect. Unfortunately it only works with dyes and only the red Hydrus watercolor.
The winner here in terms of being vibrant, translucent, the right hues, and lightfast were the Dr. Martin’s Hydrus. I was actually rooting for them because they were the most similar to the Dr. Martin’s dyes and (despite their disappointing tendency to go all “fugitive” on me) I’ve grown quite attached to those dyes. And spent a lot of money on them:
It works! Now, how do I use it?
So, now I test the color choices I have and how they all work together. The Hydrus watercolors are a little tougher to find than the dyes and I had to buy some from Dick Blick and some from Jerry’s Artorama. They come in either three sets of 12 bottles (least expensive at Dick Blick), or individual bottles (only at Jerry’s).
Looks pretty good.
I also did experiments with my splattering, with various effects and with the red options. There’s no “red” there’s magenta and an orangey-red.
But the only way I could know for sure if I could change to this type of paint forever was to do a painting.
Winner!
Which I liked. So we had a winner: Dr. Martin’s Hydrus watercolors. (Imagine you hear trumpets. Or the theme when people win on the Price is Right.)
It’s a different look, but one that lets me express what I want to express. In a twist that makes one believe in fate or subconscious influence, of the media I work in, watercolor is my most comfortable. So by switching to the watercolors from the dyes, I’m able to use all my watercolor rendering skills, in addition to all the skills of color and value manipulation I acquired using dyes. So even though this was intense – because it was happening at the same time that I was learning how to parent a two-week old, and with the clock ticking on my first solo gallery show – it will be for the best.
Back to the painting board
Now that I knew which old medium, but in many ways, brand-new medium (I had painted in watercolor, but never in this semi-abstract style) I was going to use to paint these twenty-two paintings, I had to decide which paintings to paint.
What would I do with the original reflections series? Paint over them with watercolor? Paint over them with oils? Redo them?
It all hurt my head.
And when could I tell anyone about this? (Aside from Trish who supported me through the whole thing)
I decided (I think this was Trish’s suggestion) to paint one of the images from the Reflections series that I hadn’t painted yet. Conceived as an eight piece series, I had only painted five.
So that worked out. The energy/fire part was different than with the dyes. Probably the biggest change/challenge.
I then stopped by the gallery to finally measure everything to see how all the paintings would work in the space.
That’s how twenty-two became seventeen paintings. The space is a little different than I thought and we can only fit a smaller number of paintings.
This was good news. Because at this point, it’s taking a long time to finish these paintings.
Buoyed by the painting test and the reduced number of works I have to make, I decide to redo the “Reflections” series.
Success!
I start at the beginning with “Assumption”
I move onto “Patience” which I knew would be the turning point for finishing the paintings for the show. It would require the most patience (intentionally), detail, and time. Once that was past, I could work with increasing speed.
Finally I re-painted “Triad.” This painting has the biggest difference in all the re-paints, in the change from the ’smokey’ energy effect in the middle I had in the original “Triad” to the ‘fire/crystal’ effect I have here. I liked the ’smokey’ effect a lot, but, as with the other two, I like the overall painting more than the original. The switch is painful but ultimately, beneficial.
So, phew. I’m back where I was a few months back. Slightly better for the journey. I’ve got four paintings in this series now because the wall they go on in the gallery can only fit four. I may paint the remaining three and put them on another wall, but only if I find I have time after I’ve painted the other thirteen paintings.
Back on track
Next time, I’ll tell you about how I had a bit of a meltdown over the weekend of Jan. 23rd, resulting in a very productive week following. After that, in a series of posts over the next few weeks I’ll tell you how I decided to have a show, how I learned this style, how I chose the models I’ve worked with, how I got the show, and how I chose the subjects for the paintings in the show.
Hello, here’s what I’ve been up to
First of all, hello new Twitter followers! I’ve picked up close to a hundred of you since my last post. I really enjoy getting comments, either here, or on Twitter (If you’re not coming from Twitter, I’m @cleff) and I’ll respond, though it may take me a day to get back to you.
It’s great to be able to talk to so many artists and people interested in art. The art community on Twitter is incredibly supportive, especially the #draw365 crew. I’ve gotten great advice and read many thought-provoking ideas. I’ll mention some specific people who are inspirational in a future post, but if you’re reading this and you want to find some interesting people to follow, check out my Tweets on Fridays for #FollowFriday
I actually have half-written a 2009 wrap up, but didn’t complete it before the end of the year. I’m still going to post it even though it’ll be late because 2009 was my most significant year as an artist. So far. Hoping 2010 is even better. In the meantime, I’ll post out of order with some of what I’ve been doing.
For reasons I’ll explain in my 2009 post, I’m in the process of repainting my reflections series. I have to finish that up before I can move onto the next series that will make up my solo show at the Amberella gallery.
Here’s the latest, that I finished last night.
The original is here.
Also, I’ve started doing a drawing every day. (I tried this in ‘07 and ‘09, but it should last longer this time with all the Twitter support). Here’s the first 9 (I counted my painting as a 10th).
Hopefully I’ll have that 2009 post, and some information about three big projects for 2010 very soon.
kencredible at the Amberella Gallery until 9/15/09
I’m hoping to go see this show this weekend. I’ve been a fan of the artist for a while and from what I’ve seen, I really like the atmosphere of the gallery. Would love to show there.
Epic Birthday: Kencredible Exhibition @ Amberella
You can see pictures (90!) of the show from Phrequency. Try and find Tanya in there…
Here’s the write up of the show:
Amberella Sugary & Sweet Gallery and Boutique is pleased to present to you the delicious work of photographer Ken Penn… otherwise known as KENCREDIBLE! The Solo Exhibition, “EPIC BIRTHDAYâ€, opens August 15th, 2009 from 8-11pm to celebrate, most appropriately, the photographers actual birthday and show opening! With fashion photography being a strong focus of his work, Penn has worked with a long list of independent designers and models around the United States, Canada and Europe, and is currently in the process of establishing a name for himself within the high fashion industry. He has developed an avant-garde flair in his work. Whether it is ironic conceptual contrasts to haunting dramatic light, Ken hopes to invoke thought or emotion with every image. The solo exhibition, “Epic Birthdayâ€, showcases a collection of Penns photographs that are saturated with color and emotion. The smorgasbord of truly “EPIC†fashion driven photographs are sure to delight.
Established in May 2009, Amberella Sugary & Sweet Gallery and Boutique was born out of Amber Lynn’s desire to sprinkle fairy dust, cotton candy and glittering jewels through dramatic and ultra feminine monthly art shows. The gallery serves to expose local, upcoming artists as well as established and emerging artists from across the country. Committed to showing work that challenges and illuminates the notions of womanhood vs. girlhood and modern fairytales, the gallery serves as a space for exploration and delight. The owner can often be found singing songs from Disney’s ‘The Little Mermaid’ as she hand rolls ghostly cotton candy that resembles the delicate pink wigs of old ladies. C.E.O. Miss Pinky Polka Dots, Amber’s cute as a button Boston Terrier is always underfoot with a silky bow tied around her neck. Always available are the newest jewelry lines by L.A. designer Tarina Tarantino and handmade jewelry by Tai Starr.
KEN PENN
Contact info: Kencredible.com
kencrediblebooking @ gmail.com
215.900.1443
Ken Penn’s photographic work began while attending high school in Richmond, VA — a city on the James River with a rich art scene and history. It was the late 80’s and Penn’s original subjects were the punk rock bands emerging in the Washington, D.C., Virginia Beach and Richmond area. After high school, Penn attended the Virginia Commonwealth University’s (VCU) Art Foundation, which has repeatedly been ranked the #1 public university school of arts and design in the country by U.S. News & World Report. He graduated with a Bachelor of Fine Arts and continued to cultivate his interest in photography during his time at VCU.
Penn’s experience ranges from well known non-profit organizations such as People for the Ethical Treatment of Animals (where he was adorned the nickname “Kencredible”) to multimillion dollar household brands such as Circuit City Stores, Inc. Always eager to try something new, Penn has never been afraid to take on any task, and in 2007 he photographed the Senior PGA Golf Tournament held on Kiawah Island Golf Resort in South Carolina. His subjects range from fashion to fine art to entertainment, with a strong emphasis on fashion.
With fashion photography being a strong focus of his work, Penn has worked with a long list of independent designers and models around the United States, Canada and Europe, and is currently in the process of establishing a name for himself within the high fashion industry.
Ken is considered an artist by those who know him. He has developed an avant-garde flair in his work. Whether it is ironic conceptual contrasts to haunting dramatic light, Ken hopes to invoke thought or emotion with every image.
Specializing in bringing you the “epic” shot you have been waiting for, Ken Penn is pushing boundaries.
Penn was born in Lynchburg, VA. in 1972 and currently resides in the Northern Liberties section of Philadelphia, PA. He works out of his North East Philadelphia Studio, Studio 5 South, located at 3237 Amber Street.
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