I’m continuing to flesh out the cloud series I recently began. This is an in studio iPhone photograph of the most recent piece. Once I finish the painting I’ll take a proper photograph!
I will paint a couple more of these… Easy to get lost in this stuff.
Somewhere along the road I fell back into another painting habit, cloud scapes. Often the most simplistic image speaks to me the most.
I think this is probably the reason I still paint. You have fun making a mess and then there is a flash of magic. You can’t take credit for it because it can not be reproduced. The brush was in your hand so…? It is the mystery of life and everything unknown suddenly feeling fine.
This is the last bison skull painting in the series, the last one I am going to do for a while. I experimented with a bit of blue which gave the painting an interesting look. Along with the texture it has a bit of an underwater feeling to it.
The painting is an 18″ x 18″ acrylic painting.
This is the completed version of “Western Shadows (bison skull) II”. It is, for some reason, particularly difficult to capture this painting digitally, it just doesn’t seem to represent the final piece properly. I am including some detailed photographs that display some of the intriguing textural elements that make the physical painting so much more compelling (at least to me).
This is an acrylic painting that is 20″ x 20″
I am finishing up the second “Western Shadows (bison skull)” painting. I will try to get a proper photograph of it when it is complete. There are some pretty interesting textures happening that aren’t apparent in this photograph. I’m planning on doing at least one more of these but who can tell?
working late in the studio with a ridiculous number of unfinished pieces. I keep starting new things and jumping around. Generally I think it is a good approach to have a few works in progress. It keeps them fresh to the eye… allows for drying etc. these days I feel like I am always starting projects but nothing seems to roll across the finish line. Maybe best not to over think it.
I’m making a number of pretty large cow portraits. So far they are all 20″x20″. I’m trying to strike that balance between subtle atmosphere and interesting brush work/mark making. The paint in this one is harmonizing with the shining texture beneath the surface.
Last weekend I took a lot of reference photos not only of the ocean but of pastural scenery and the incarcerated cow. It seems there is no such thing as too much reference.
There is something intriguing about antique communication devices. They are often really beautiful objects that play no part in our modern world. I purchased this phone on eBay because I wanted to use it as a subject! I was also experiementing with destruction. I often use squeegees and unusual brushes to create marks that I find beautiful. This time I recklessly attached the painting with liquids before it had dried. The results speak of chaos, I thought some of it was pretty interesting looking. I have not been pouring liquid on my wet paintings as of late but like the subject itself I may revisit.
This was a 10″ x 10″ cow portrait I did in acrylic not too long ago. Once again using the cow as sympathetic subject. I have been working on highly atmospheric environmental scenes of late. I have largely abandoned opaque colors since doing this painting. I am trying to make work with a lot of transparency and light penetrating the paint. I hope to bring it back around and do some large sweeping landscapes with shadowy cows. We shall see where things go… Best to follow the work rather than trying to map out a plan.
These two paintings were part of a small collection of animal paintings I did. Very heavily influenced by Tonalism, a movement that emerged in the 1880s. Works that fell under that umbrella of style were painted with an overall tone of colored atmosphere.
There were a lot of really interesting artists that were grouped into this art movement such as George Innes and James McNeil Whistler. My personal favorite was Albert Pinkham Ryder, his work is more stylized with a very grim and haunting look. I was excited to see some of his original pieces at the Santa Barbara Museum of Art a number of years ago!
brian sostrom 