The story behind the painting is believed to be one of the best ways for selling art. Well, that really depends. When selling online, we don’t even know who’s bought the art, and when selling in person, it’s not always a good time for stories.
An interview with an old artist comes to mind when I’m thinking about how much art critics and art reviewers love rich wording.
A young journalist pays visit to a much experienced, fairly rough artist and asks for permission to write an article about his art. The artist just keeps working, and seems to be neither too excited, nor too denying about this idea. Thus, the journalist takes out her notebook and starts questioning the old guy.
“How is that all of your art is structurally so multi-layered, multi-faceted and multi-reflective when depicting just routinely flat, boring and standard, sometimes underappreciated subjects? How can it show the underlying emotional hidden mystic concepts of these subjects in such an enormously effective and mentally enriching way?”
“Well, I just grab some paint and brush it on.”
“Sounds very simple, but how could you master describe the energetic overload in these trivial scenes which are jammed with overlaying structurally heavy, spontaneous brush strokes which seem to evoke in us the ancient and primary instincts and passions?”
“Well, I suppose, you see it now: I just grab some paint and brush it on.”
“Sure, your painting style is just fantastic and breathtaking. How about your artistic concepts when choosing these uninteresting subjects, but painting them in the way we experience things we never even knew about, not to mention we could see them captured in this vibrant, rigorously abundant manner which takes us to other dimensions and to futuristic domains of our mind?”
“Well, I don’t think, anything else says it better, as: grab some paint and brush it on.”
“Thank you, master. Would you like to share some of your secrets about implementing in your work this indescribably multifold capture and immediate expression of this vivid, eternally uplifting, intricately subdued and emotionally unvarnished light fractures?”
“Well, it’s kind of tough: just grab some paint and brush it on until you like it”.
Images which are attached to this post have been painted as demonstrations for classes. I finished them afterwards since I never get time enough during the class while I am trying to follow up on each student’s work. So, that’s the story: paintings of elements which we had to practice on.
Pink and white amaryllis: acrylic floral painting on canvas
It took me a while, but these paintings are available at the gallery now.