How do you know when a series is exhausted? If the subject still has appeal for me I'm willing to continue exploring it.
Our Dancing Days, 30x40, oil on panel, is a large piece created for this show "Story Within".
Here's a post I did about Our Dancing Days. I realize I've done three other paintings at this point that were initially inspired by the clearing in the woods near my house. The models are my son, my daughter and my daughter-in-law. I think each painting has a different feel, at sometimes being playful, sensual or mysterious.
|"If Music Be the Food of Love, Play On", oil on canvas over panel, 32x39|
|"The Clearing", 24x18, oil on panel|
|"Ripe Was the Drowsy Hour", 18x24, oil on panel|
I did The Clearing and If Music Be the Food of Love, Play On in 2009, and just finished Our Dancing Days and Ripe Was the Drowsy Hour this summer 2011, with many paintings in between.
Why even work in a series? For me it is hard to say everything I want to say about a particular subject in one painting. It takes the pressure off knowing that it doesn't have to all be said within the borders one piece, especially if it's a complex subject.
The Changing Series. Interestingly enough sometimes the series fizzles out and I know I'm done with it, but other times a series get a crazy spin off series, kind of like Torchwood from Dr. Who? or Pinky and the Brain from Animaniacs... Anyway you get the idea!
For example the Incognito Series of paintings that I've been working on since 2005, spawned The Incognito Project in 2010. It's a very specific Event and Show.
I'm still working on that project, having completed 15 paintings with 14 more in the works. The collection will be shown here in Birmingham, AL, at a date TBA. The work is also being documented for a book.
But in the mean time come see me in Santa Fe at the Peterson-Cody Gallery for my opening on Nov, 4, 2011 with Forrest Solis, I'll be in town.