Eventhough most of my production is done with much care,devoting time to the application of various layers of a same color, with a certain sens of perfectionism… I often use the rest of my tools after a tight work to make a “rough” one. Sometomes, I have enough strength and trust in my gesture to do a piece in an hour or two. Letting my hand talking for me.

Living the realization of a canvas as a real creative process.

KNEELING MAN ON THE GO

KNEELING MAN ON THE GO. 100x150cm. Mixed media on canvas. 2013

Because most of the time, the creative part ends when you finish the sketch on the paper.

Then it s all only about technic, and a bit of feeling for the curves, and proportion. But it s not pure creation anymore but the sublimation of a first pure creative concept. Which is quite nice too, because closer to meditation considering it is the repetition of a same getsure or vibration. Through layers.

But, sometimes, creating by searching harmony in the structure while seeking aleatory in the texture can give you a pleasant surprise. And because of being fast, instinctive, it is somehow closest to your instant truth.

KNEELING MAN ON THE GO

KNEELING MAN ON THE GO (work in progress)

KNEELING MAN ON THE GO. 100x150cm. Mixed media on canvas. 2013. Work in progress.

This canvas was made in 120 mn with the remaining sprays, chalks, and brushes I used for some of the walls I painted in Woodstock.

Another piece I did is a woman, named “ELLA LACTEA”. I spent two afternoons shpang her in my hotel room. I used more or less the same tools of the one above, but in a slightly diferent way.

ELLA LACTEA. Work in progress

ELLA LACTEA. work in progress. 2013

ELLA LACTEA

ELLA LACTEA. Mixed media on canvas. 150x120cm. 2013

For the creation of one of these pieces , I used a canvas on which someone already started something, but left it unfinsihed. I never did that before, but it happened this way….and itt was quite interesting to try to keep part of its texture while building my own structure. I did a profile again…probably because I enjoy the paradox of it. It is at the same time because it’s the easiest way for me to face with my innerself,  trying to recognize myself in it, a key to understand things I wouldn’ have understood if they were not painted.

But also, simplifying a profile to its most, approaching geometry, allows a wider public to identify with the face since there is no detail of age, sexe, or culture in the representation of it.

PROFILE

FACING MYSELF. Picture by S. Willow Smith

(work in progress)

(work in progress)

THE ART & THE ARTIST. Picture by S. Willow Smith

PROFILE

PORTRAIT. Mixed media on canvas. 80x60cm. 2013

Finally these works where presented among my sculptures and the artworks of some of my friends at A/WORD OF ART Gallery, in Capetown, South Africa.

ABSTRACT STORIES collective show in A/ WORD OF ART Gallery. SA.

ABSTRACT STORIES collective show in A/ WORD OF ART Gallery. SA.

Abstract Stories. A/ WORD OF ART Gallery. South Africa

UNIVERSAL SELF

UNIVERSAL SELF. Bronze. A/ WORD OF ART Gallery. South Africa

You can check the pictures and catalogue of the collective show here and there.

P e a c e

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