Wednesday, April 23, 2014

In Which I Discuss Amputation, Serial Killers, and the Zorn Palette

18 x 14 inches, oil on canvas

When composing a figurative painting, keep in mind that letting a limb exit the picture plane ("cutting it off") at a joint is a definite don't. It's supposedly reminiscent of amputation in the viewer's mind - mostly subconsciously - unless, of course, your audience is composed of HBO-style serial killers (in which case, do it! $$$$)

This blog post is rapidly getting out of hand, and I certainly don't want to imply that the human body, minus certain capabilities, is not still beautiful. What I'm saying is this: you take a figure model with no disabilities, and create some for her, and your viewer is going to wonder why.

Which brings me to this particular painting, which I banged out last night. It's another Zorn palette effort, which has become my rushing-out-of-the-house at 5:30, get-your-own-damn-dinner-dear-family go-to.

I'd like to pat myself long and lovingly on the back, though, for getting the entire body - head, hands, elbows, knees, and BOTH FEET on the canvas. That almost never happens. And when I mean almost never, I think the last time was January 2012. Don't call me out on her fingers.
It was two years ago, after all.

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