One of my favorite pastimes is shifter karting.
There are few things in this world more exhilarating than getting violently thrown around a kart track at up to 100 mph with your butt an inch off the ground. At times I'm not sure if I drive the shifter kart or if it drives me. This might be due to the fact that I'm not a skilled karter or it could have something to do with the mind numbing power to weight ratio. Let's just say it's the latter to save my ego the embarrassment of admitting I'm slow.
The karting experience transmits the sensation in the seat of your pants that you are on the verge of losing control at any moment. It is raw and primal in every way. I personally think it is so damn addicting because it gives you the illusion of being in control of an object that is inherently out of control.
Painting is similar in its' own regard.
Now I know it might seem like a stretch to compare painting to driving a 100 mph kart but they both offer the illusion of controlled chaos. This comparison is fresh on my mind because I've entered the final phase of my artwork and have been applying "paint" to my sculpture.
Applying paint in an abstract manner to any piece of artwork, whether it be a piece of canvas or an aluminum form, is a discipline much like that of driving a shifter kart. You know where you want to go, the question is does the kart want to go there? You apply the necessary inputs to achieve your line but in reality you are always on the edge of loosing control. Flowing paint reacts in much the same fashion. You know what you would like the paint to do but invariably you have to will it to follow your line. That is the beauty of it all.
Thankfully I'm a far better painter than shifter kart driver!
Although fun, it is intimidating to throw caution to the wind and begin painting something that has taken you a thousand hours to make. Just like karting, if you screw up you'll have a worthless twisted pile of scrap metal! Thank God I'm one week in and I haven't wrecked it.
I knew from the beginning that I wanted a finish as unique and gestural as the sculpture itself. I spent a great deal of time researching and testing finish and paint combinations until I felt I had the right look. I envisioned something that was very saturated in color and value yet translucent and fluid like a watercolor wash. I tried several different wash techniques to perfect the flowing water visual I desired.
This is where controlled chaos theory comes into play.
I have to position my sculpture in space and let loose with a Pollokesque technique of throwing paint and letting the different colors flow and run amuck. It is a difficult balancing act. Too much color at once and it all blends together into a muddy mess. Not enough color and it becomes opaque and looks like graffiti. If you don't have the sculpture at the right angle gravity pulls the finish in the wrong direction and it contradicts the flowing lines and forms of the sculpture. You have to also factor in preheating the sculpture so that the essential patina effect takes hold. If it isn't preheated to exactly 180 - 200 degrees the patinas won't do their job and you start back from square one.
Sound like fun? Yeah, that's what I thought too!
It's been a very stressful process but things are going well to this point. I am still building up the layers of finish and color but I can see the light at the end of the tunnel. I still have a long way to go before the final clear. Now is the most exciting time of the entire art process because I can really start to see things coming together. I've got my fingers crossed and I'm hoping things continue to go well.
I'll keep you posted!
Labels: Artwork, Cavallino
