Stlukesguild

gorgeous! Not an art historian, but can see the architectural influence in the painting. Very intellectual.

I don't know if I think of my art as overly intellectual... in spite of the fact that I have a rather strong background in art history, literature, mythology, iconography, etc... These are but underpinnings... subtexts. I am far more the sensualist as an artist. In a way, teaching art to children keeps me pointed in the right direction... away from overly esoteric art theory... and toward art based upon visual wonder and love of color, texture, pattern, etc...

Sure, I understand what you mean, but I like the many different influences that you brought together to produce this piece.

I wonder, are you saying that the figure is meant to stand out more when contrasted against the flat architectural background. It seems, as you mentioned, the background is quite flat.

I like this very much too St Lukes. Question. Is her right elbow cut off in the painting or is that just the photograph? If it is, that is an interesting twist in the way you have that off center.

Jersea... certainly the figure is meant to stand out against the background as is traditional in figurative painting... although Matisse and Bonnard especially sometimes play with "losing" the figure within the surrounding space. Pretty much the entire image is flattened out to stress the abstract two-dimensional design. The figure is less "flat" than the background but still it is far from being fully rendered up and I avoid any use of chiaroscuro or strong contrasts of light and shadow. If the figure were too much more built up as opposed to the surrounding space it would look out of place... stuck on. In spite of the "flatness" the entire surface is actually quite textured.

Virgil... thanks. Yes, her arm is cropped off on the left side. What you see is pretty much what there is. I used to crop the figures quite a bit which is not uncommon with figurative painting of the Baroque, Impressionism and Post-Impressionism (Degas and Toulouse-Latrec especially) as well as Japanese art. You are right, however, I have somewhat avoided this in previous work approaching the frame of the picture much like a medieval artist would... as a stage in which everything must fit. As for the asymmetry... I've actually never been overly fond of symmetrical compositions... too static. That's what I like about the diagonals as well.

Thanks for giving us insight into your thought process.

As always, very nice Luke! I always love the works you share here. I sense a little more detain in the figure this time. Little things like the slight muscle definition in her arms as well as the definition of her ribs. I don't think I've noticed such attention in previous works. Do you use gold leaf for the metallic work or is it a good quality metalic acrylic? Take Care, Meg

Thanks... I think there's a bit more rendering of the form on the last few paintings... although I still hold back from fully rendering the form the way I might have earlier... using a strong raking light to define musculature and planes of the body.

As for the gold... it is actually metal leaf (although not gold... which is far too prohibitive in price at present). It is applied pretty much the same as true gold leaf. You apply a red ground primer, then the adhesive, then the leaf (which is lighter than a feather and demands that all fans be shut off in the room) is cut to scale and applied. Wherever there is no adhesive, it brushes off. I then sand the leaf in places with a fine grit sandpaper in order to tone down the shine here or there and/or to reveal the red ground beneath. I would never use metallic paints which look absolutely hokey to me.

It's just beautiful. How do you decide on the patterns you use in the background?

I love art, although I don't know anything abut it. It is fascinating to see you use your considerable knowledge and its end result.

What parts of your painting are Japanese, Byzantine, Indian, early Renaissance, and Persian?

My choice of pattern is somewhat random. I just look around and experiment with different types of tessellations. I tend to use hard geometric patterns which contrast with the rougher weathered surface and the curves of the body. Color and the overall compositional structure involve far more thought and trial and error than the patterns ever will.

I'm influenced by any number of sources but nothing is really borrowed so directly that I might say "this part is Japanese..." Certainly the verticality of the composition and the graphic use of flat colors... especially the blacks... owe to Japanese art... but there are also influences from the standing Indian sculptural figures, Byzantine icons, Gustav Klimt, even Matisse and Modigliani. The love of patterns and the use of patterns to essentially "clothe" the women in an environment of visual, sensual splendor certainly owes much to Persian/Islamic art, Byzantine mosaics, early Renaissance angels and saints... but also Klimt, and Matisse (again) and Pierre Bonnard. There are instances in which you might borrow this or that element directly... but most of the time my influences are just something of recognizing oneself within a certain tradition which has been filtered and sublimated through one's own experiences.

Thank you. You explained that very well, and I really appreciate it. Sometimes I will read say, a review of a musical group and they will mention their influences, but they never explain what they mean, which I find very frustrating.

Quite nice. Aesthetically, I've always loved how bold strokes can flatten an image, giving to a simplistic appearance, yet, as in your pieces, the textures and details guided by those bold strokes can be complex. I checked out your site; it hasn't been updated in a couple years. Do you have another site with more recent stuff?

Calebjross... I haven't updated any of my websites. I guess I'm just lazy that way... or just not savvy enough to do so without spending too much time that might be better spent reading and making art. Speak No Evil is one of the last paintings I completed (early this summer). I have one painting after that... which I shall post in the near future... and will quite probably start getting a Website up to date in the near future as I set about with the goal of getting these works into galleries (I've had two college exhibitions in the last 12 months... but need to find the sort of venue which can connect me with the right audience). Thanks for the comments.