Four On The Floor

For about a year now, I have had one goal for my art - work faster. As my work has improved over the course of the last few years, it hadn't yet translated into quicker production. I read somewhere that the average painter needs to produce about 80 paintings per year to put themselves in the best position to work as full-time artists. Because I work a regular job, my objective is to achieve about half of that - to start and finish four paintings per month.

August will mark the first month where I was able to accomplish this goal. As a result, I'm achieving a certain consistency to my work. This feels like real progress. More so, because I am improving my output, the opportunities to learn increase and I believe my work will only get better. Appreciating what's happening only makes it that much more fulfilling.

Collector's Notes

I am nearing completion on three paintings. The work is significant to me, as it marks a shift in the way I approach my work. Instead of perceiving objects and things, my focus has shifted to the abstract relationships of values within the painting, enabling me to see more harmonious relationships that bind all elements of the painting together.

Furthermore, I have developed a better shape vocabulary with a greater understanding of the nuances of shape contour.  

With a better vision of the work, and clearer intention, I am able to work more quickly than ever before. More importantly, it opens doors for the future of my work to go beyond traditional figurative painting. 


By relating compositional components to one another, I am able to expand context and achieve greater accuracy in my drawings and paintings. Through my studies, I observed my tendency to relate things in terms of their proximity. Upon considering why I do that, I believe it is simply for the sake of convenience. It's very easy to compare or contrast something in relation to whatever is immediately next to it. I've found, however, that In order to improve my understanding of something, it is advantageous to push the boundaries of comparison points as far out from the point of origin as I am able. Thus, pushing me out of a visual comfort zone. The further out I look for a relationship and point of comparison, the more I am able to accurately render it. This applies to shapes, colors, lines, angles, values, and even life.  

The visual technique that helps me to accomplish this is triangulation. With this approach, I look for a single, distinct point of reference as a source of truth (an anchor), by which I compare all other references. Once that point is established, I look for the next obvious point. From this secondary point, I look for a third point to relate to, in order to further perspective. Of course, I could expand to have additional points, but three seems to be the minimal number required to achieve the accuracy I seek. This is one of several tools I use to interpret the visual world through pattern recognition.

The examples above were studies for a self portrait.

The examples above show the progression of a work in progress, illustrating how triangulation ultimately translates into an actual drawing (self-portrait).