Lesson learned in yellow

Two Daffodils, 12×12, oil on wood (work in progress)

Mellow yellow. I learned some new things this weekend painting in yellow. I have always struggled with the ‘fat over lean’ thing. In foundation year painting classes I don’t remember ANYONE discussing it, but, I only really remember painting in foundation year painting. Painting a lot and all the time. Maybe I missed the discussion. Anyway, I have heard that one must add oil to paint when painting over existing layers of paint or the paint will crack. In 20 years of painting, I haven’t seen one of my own paintings crack. So I never really worried about it. But I do think about it when I see the terms fat over lean it in marketing materials, etc.

Raphael and Miriam, 12×12, oil on wood (work in progress)

As I was working on this yellow painting of the coffee can I finally used the fat over lean to my advantage. I was painting the lid to the can but I didn’t get the color quite right. Normally, I would try and lift the color off and try again, but this time I mixed the new color added stand oil and painted right over the first layer of paint! Break through.

I am looking forward to adding details to the three yellow paintings I worked on this weekend. They will be dry enough soon and I can add that oil!

My best,
Emily Warren


emilywarrenart.com
www.instagram.com/emmywahwah/
www.saatchiart.com/emilywarren

Published by Art Belongs to Everyone

Remember Reflect Reform In this work, I have been exploring phenomena of memory augmentation. I experimented with reflections and cinematic images by juxtaposing photographs, paint, wood, and mylar. The direction of the work includes painting intimate, reflective, observations of augmented memories.  I began by building a cabinet of curiosities as a way to form a tableau painting and experiment with different media. Inspired by the relief paintings by artist Sally Han, I built a model of a Victorian cabinet using tenets of Darwin's theory of evolution. I painted on a variety of surfaces including wood, photographs, and adding raw lumber to the pieces. In this process, I disassembled the cabinet to give autonomy to each piece. Although I diverted from the original idea of a final installation, there was an impulse to paint larger. Adding mylar was yet another way to accentuate reflection as a part of the critical dialogue with the work. The final result offers an opportunity to remember, reflect, and reform.

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