I have been anti easels for years. In graduate school, everyone painted directly on the wall. It made so much sense, because it didn’t take up any room in your studio, the viewpoint was never skewed and it’s significantly more stable than an easel. Ever since then, I have had small studios and can’t afford to take up floor space with the easel, so I have continued to paint directly on the wall.
Lately, I have been painting smaller and more intricately, which requires that I be closer to my paintings. I came up with a great (free) solution to the benefits of painting on a wall and using an easel (which allows the artists legs to be under the painting when sitting). A wooden shim and a screw makes a perfect folding brace for my paintings. I think it may have changed my life, haha! I call it a retractable propping device.
Earlier this month, I was featured in Charlie Magazine’s 50 Most Progressive Issue. Sully Sullivan was given the assignment of photographing me for the inaugural issue. It was such an amazing experience to work with Sully, who wanted to recreate one of my paintings, “My favorite Stuffed Animal, 2008”. I’m super impressed with the final photograph. So much fun!
I just finished the under-painting for this piece (oil on canvas, 60″ x 36″) that uses a fabulous Art Deco diamond pattern. The painting still has a ton of work and many more layers ahead, but overall, I’m happy with the direction it is going. Although it does not include Italian mosaic (like in my previous paintings), I feel that the repeating diamond shape references a similar geometric configuration. Below is the under painting and pattern I am referencing to give you a sense of where the painting is headed. I am really looking forward to painting all the subtle gradients and transitions in the shadows.