As part of my independent study with the Compass Atelier school in Rockville, I began a series of paintings that sprang from a charcoal drawing that I had done for class homework. I used my drawing as source material for Hydrangea 1. Then I used Hydrangea 1 as source material for Hydrangea 2. In other words, I never went back to the original still life or its photo, and with each new undertaking I tried experimenting with varying degrees of realism/abstraction, order/chaos.
The paintings are presented in the order in which they were executed.
I used different techniques:
Direct painting with a toned canvas, based on a charcoal drawing on the canvas (1 and 2);
Baroque imprimatura (8);
Monoprint underpaintings with a semi-abstract painting on top (6 and 7);
Unplanned compositions, conceived, painted and/or rubbed in directly on the canvas (3, 4 and 5).
My goal was not necessarily to produce a painting, though if one or two of them work, that's gravy. Rather my goal was to begin the long road to figuring out what kind of a painter I want to be.