The painting 2017 No.9 has been stretched on a wooden frame and its edges retouched. This is its final state! It is a grand painting that requires a relatively long viewing distance to comprehend well. On this page it is comfortably seen; its reproduction is small. In person it is very large. This brings me to a question. Should I make a new painting that is marked with small strokes that are variations on its color theme? A painting should be grandly involving at all viewing distances. This is the way Vincent Van Gogh and Georges Seurat involved their viewers at every viewing distance.
The reason 2017 No.9 is framed, and fully finished, is its immediate journey to AVA Gallery for their Summer Show.
Drawings from 8/11/2015, all are pencil on paper, 16X20 inches
Somehow, and someway, I am in the middle of the rejection of figuration. I am not sure this is forever, but it is for now. Yesterday's drawings are one more step on my quest to be real.
Today, appearing here is something unusual. I show yesterday's third drawing twice! The smaller format (above) can be enlarged by simply clicking on the image. The larger format (below) can also be clicked upon to isolate it on your computer screen. I show both ways because I want you to compare the overall compositional impact versus the play of individual forms (similar to grabbing the viewer from two viewing distances, far and near). I hope you enjoy!
Yesterday was all about the painting Untitled Diptych-04·15·2014, now in its 36th state. Good stuff happened, and it is getting there, but it will take a few more revisions before I find it fully acceptable. Small things continue to bother me. The man in the left panel is almost right, but his lips are too small. Once again, zooming in makes all look better. Which means the intermediate and close viewing distances work well, but the longer distance, as seen on my screen, needs repair. Remember, this painting is 10 feet across, so the figures are approximately life size, especially the one's in the left panel.
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