View Full Version : Swirling Dreams and Moonbeams

04-09-2014, 07:53 PM
Here is the latest in the "Out of Your Mind Series" called "Swirling Dreams and Moonbeams", it is a 16x12 Canvas Panel. I have temporarily run out of my supply of stretched canvas (stretched myself -which I prefer to use over the mfg stuff) so I am resorting to canvas panels which I have lots of for now.

This one, I will describe as an amalgamation of the not quite familiar adrift in the soup of fantasy, full of flavor, fear and delight but being without logic and reason. Weightlessly floating amidst a lifetime of mixed up memories trying to get somewhere without any reference to time and space.

I am interested in any and all comments and criticisms.


Here is a grayscale of the painting


Thanks for looking! :wave:

04-09-2014, 09:41 PM
Blue and purple are my favorite. ...awesome detail!

04-09-2014, 09:42 PM
Such detail!

04-09-2014, 10:14 PM
Is it just me or are your works getting 'denser'?
Seems that this piece has very little negative space.

my old eyes are having trouble with this one, but lovin the colors and attention to clear crisp edges



04-09-2014, 10:59 PM
Very much drawn to the detail and love the palette.

04-10-2014, 12:16 AM
Blue and purple are my favorite. ...awesome detail! Thanks abstracta, I get into a series of colors and try to squeeze the combinations out of it until I I fall in love with another combinations. Still pretty solid in this color range for the foreseeable future! :eek:

Such detail! And it challenges me each time I commit for this level of detail. I have to overcome the (ever present) desire to get it done and be on to the next and that is hard ...so it is good 'training' for me. Thank you zeropoint :)

Is it just me or are your works getting 'denser'?
Seems that this piece has very little negative space.

my old eyes are having trouble with this one, but lovin the colors and attention to clear crisp edges


greggo This series has always had detail ...although now the time to finish a piece has grown to almost double what earlier pieces were so I am thinking I am detailing the detail more.

I don't think I am a cenophobiac (one who has a abnormal fear of a void or of open spaces) nor do I intend to practice "horror vacui" (fear of empty space) with my work, at least to the extreme. I say this because of other examples of my past work like: Three Lines in Red and Blue (http://www.wetcanvas.com/forums/showthread.php?t=958275) and Security series "Mine" & "Contentment" (http://www.wetcanvas.com/forums/showthread.php?t=1053762) I will admit to a love of intricacy, a hanger on from my days in architecture. It is sometimes annoying :( but at the same time when I find myself lost in that stuff I know the left hemisphere of my brain has fallen fast asleep Zzzzzzzzzzzz! Thanks Greggo :D

Very much drawn to the detail and love the palette.Thank you David!

Ishka Baha
04-10-2014, 03:23 AM
This is like being sucked in to another world. Hope I can get out! Love the title.

04-10-2014, 10:38 AM
This is like being sucked in to another world. Hope I can get out! Love the title.I had a hard time trying to name this one which is unusual. It went through several title revisions as I was posting it. Thanks for looking and commenting Nikki :)

04-10-2014, 03:59 PM
Could you give me a walkthrough, how you approach such a painting?
Do you begin with a sketch? Do you do the outlines at the end?

04-10-2014, 08:10 PM
No sketches, no preconceived concept or pattern I am aiming for. This is the #22 painting from the "Out of Your Mind" series. And the premise of 21 of the 22 works is to not think about what to paint, just paint. There is a lot of information about what my process is within the thread "Help if you have trouble with Abstracts (http://www.wetcanvas.com/forums/showpost.php?p=19996076&postcount=4)" and in my interview with Split Lip Magazine (http://www.splitlipmagazine.com/#!10-david-l-friend-interview/csvi).

I once answered a friends similar question with the following answer I share with you also gulden:

I will explain a little about the process and state of mind I am in while painting.

I almost always use music to keep my mind in a very right brain state of mind and my music of choice is classical then I start with a dark toned canvas which helps to connect each painting and provides some uniformity across the painting. I had read previously that, A painter should begin every canvas with a wash of black, because all things in nature are dark except where exposed by the light. (Leonardo da Vinci). I don't know how that translates to abstract painting but it seems work for me although I don't like black as the background. I have tried in in a couple of these and I think a mixture of a cool to cold 'muddied' color has worked best for me.

Once the background is dry enough I put on some random marks in a mid-tone color I will be using as part of this painting's palette. The marks have very little significance at this point but one mark does start to influence the next. I will continue to make some more marks in 2 or three other colors. First colors tend to be cool colors and later colors added are warmer ones. Also at first I start with a larger brush - a #8 or #12 bristle. What I am trying to do is to get into a dialog with the colors, shapes and their interaction. It is like picking a fight and challenging the mediums to push back and get a reaction from the canvas. After some of this I will switch to a #4 bright brush and it is usually by this point that I usually have crossed a threshold and am working in a directly intuitively way but I am not always aware that I have been pulled into the work. My focus becomes narrow and is centering on what is happening with the brush.

I think I first got hooked into this particular style when I learned how to use a brand new #4 bright brush like a pen or pencil. After I have refined the basic composition using 4-5 colors and can see something interesting begin to emerge I will start to add outlines using the #4 on edge using very rapid strokes and holding the long handled brush near it's end by using my thumb and first finger to make the brush movements. Each brush mark made again influences the next and I find myself not thinking much about what the painting is looking like but rather if the conversation I am involved continues to be interesting. It has become a very primitive way of communicating but the brush marks do not seem to be rushed or arbitrarily random but rather one thing following the other and building on itself.

There are usually 3 or 4 sessions of a couple hours each. The first session is with quicker motions with more compositional creation than the latter ones. Then 2nd session is where the colors and line refinements happen and the third is where it gets slower and more precise and cleaning up what ever is slightly off or unclear happens. Lately I have added a #2 filbert brush to work in some of the details. Also rotating the painting often as I work is important to continue to 'not see' what I am paintings and to be able to read where weak parts of the painting remain to be fixed.

When I am finished this is where i am like a kid at Christmas because once I have photographed it I will upload it to my computer and study it (while listening to music) in all four orientations to see which is strongest and what exactly seems to be appearing within the painting. It is always surprising to find all the little things that have moved in and even stranger to see that if you stare long enough more detail will become apparent to the minds eye.

There is usually no composition aimed for (one exception so far) but I have noticed some unifying marks and repetitions that occur throughout some of the paintings. I try to deliberately not think about the painting and fear no mistake. I call the process intuitive because it is so responsive and reactive to what was done previously bu the brush. I always feel that I am moving my own brush and yet I am surprised by the marks that are made and attribute the successes of these paintings to trying not to influence the paintings with preconceived ideas of what a painting or this painting should look like and knowing that in the end if no one likes it, I still like it.

I am not sure if I have answered your question about what guided me to my current direction but all I can say is that this latest group of some 16 paintings have come from a deeper place within me than most any other works before and yet so much of what came before (previous paintings) can still be traced within this series.

Over all, the most valuable thing enabling me me to paint this way has been learning how to paint from my brain's right side as well as how to avoid letting the left side overrule the directions from the right side of the brain.

Thanks for asking and I hope this gives you something of what you asked for! :wave:

04-11-2014, 03:50 AM
Thanks, that's very insightfull! :)

04-11-2014, 06:46 AM
Thanks for posting your interview. A worthwhile read.

04-11-2014, 11:39 AM
Thanks for posting your interview. A worthwhile read. Glad you liked it David. :)

Thanks, that's very insightfull! :)Hope it is helpful too gulden. :wave: