As I begin to add color to this urban landscape, I focus on the bits of color that comprise the image as a whole. I want the painting to become almost abstract in appearance, picking up the rhythm and motion of the urban landscape rather than becoming a “street scene” in a narrative sense. To acheive this, I pay attention to the sub-forms that make up the elements in the landscape: the strokes that make up the verticals and horizontals that ultimately are perceived as buildings, cars and streets. I’m not trying to “draw” with the paint, I’m simply placing color next to color and letting the image manifest itself as a result of that placement. Doing so creates a detachment from the subject that ensures figures and cars don’t become “cute” or cartoon like in their appearance. They meld with the background and become absorbed into the composition, rather than becoming characters in a story. This approach applies because I want the paintings to be about motion and movement rather than to tell a story. Knowing what your work is about is key to developing the methods you employ to make it say what you want it to say.
This painting still has quite a ways to go, here is a shot of the whole composition in the stage it is at now.