Abstract painting has always been something I avoided. Despite the exploratory tack I desperately like to take with music, being relatively untaught in the art-realm I tend to cautiously stick to the knee-deep waters of photo-realism, where I can judge how effective a painting is purely by how much it looks like the thing I am painting.
The treacherous, murky currents further off-shore contain pretentious, vague beasts of prey, just waiting to pounce when an art student submits a blank canvas with the word “Future” written on it in sparkly glitter. I was going to say clear gelatine, but that might actually be profound, because in the ‘future’ while it is sitting in the garbage, a colony of ants will probably come along to eat the crystals and thus illuminate the word with their bodies… Apart from a woeful tale of artistic anguish and futility, the moral of the story here is that you can justify anything* with enough of an explanation.
*Indeed, I once told a concert audience that the piece I was playing; “Canteyodjaya” by Olivier Messiaen, was written when he was twelve years old and named after his pet axolotl. This is of course completely** untrue, not to mention utterly ludicrous, but, said with a straight face, it was met not with laughter, but with blank stares, approving nods and knowing smiles. Ironically, I later received one of my best gigs that day from a member of the audience who ‘liked the way I spoke (spake?).”
**probably and hopefully.
But I digress.
Yes, I have taken my first steps into this notorious tide by taking up the palate knife rather than the brush and attempted a non-photo-realistic portrait. Due to the new lack of detail, and the often inadvertent, but welcome, special-effects of the palate knife medium, I am ashamed to say that instead of the usual 2-month effort, I completed this painting in 2 days; one session doing a rough background coat and the other the actual painting.