Mid-process review and editing by Cameron Jarvis

I decided I should do like Kanye and show you some unfinished work. I promise there will be no meltdowns or inconceivably brilliant work. The personal debt is about the same though.

These two pieces are more about how I structured the paintings than the way in which they are painted, but I've reached a point where I have to decide what big things I need to change, and what small details I need to add to make them successful paintings. I am also making sure that none of the layers of the painting clash with each other, but instead creates a unified whole.

I took made a quick sketch and wrote some notes about each piece just to solidify the idea and direction that I want to start work with tomorrow. Articulating it in a way other than painting helps to preserve it in a way that can be translated later without the ideas getting lost.

Some more well placed lines scratched in so that the front resembles the back a little bit more. There is a good focal point. I just need to bring the very front into better conversation with the back layer because the back is so interesting that it would be a shame to cover it up with something so much less dynamic.
I just need to go crazy. There is so much careful structure that I can't possibly mess it up. The building fronts are at such an angle [and] in the murky shadow that it really lends itself to impressionistic painting. It would look more real to just have abstract touches of color than to actually study how each part of the surface is functioning. I also need to have fun breaking up the flat storefronts between the two layers of glass.

Productive day by Cameron Jarvis

I had a really productive day today. I got up kind of late, and didn't make it into the studio until 10, but I think I've reached the point in my current projects when I have gotten a lot of thinking and planning out of the way, and have the full bandwidth to devote a full day to just making work, and moving paint. 

I had a huge breakthrough with the two paintings I just started. for these, I decided to forgo the orange ground that I have been using to start all my paintings in the last few years, and started with a fairly detailed pencil drawing. I blocked in some large shapes last week, and today I decided to go back over the paint with my pencil to reinforce the structures and angles in the two scenes. I've been looking at the work of Andrew Wykes (look at his paintings every day, and go see any show he has). He has a style where he breaks up the space with very bold line work, and uses tape to create really hard edges and bright pops of color to depict scenes that are slipping in and out of abstraction. I'm not attempting to make anything as breathtaking as he accomplishes, but the lines are really helping me think about how the objects in my paintings sit in space. This is especially true in the landscape I am working on, as it is devoid of the rectangular buildings that I'm used to painting. I'm thinking about the natural landscape, and how it can be thought of as existing in some sort of framework, even before humans arrive and impose one explicitly. 

I also moved ahead with my series of prints for the show. I'm planning four prints, and finished tracing my images for two of them, and either tonight or tomorrow I can start transferring those images to the linoleum blocks so they can be carved. I think I'll give a detailed account of how linocut printing works on here, because I think it's fascinating it allows you to create multiples of one image, and the because there is such a shift in the way you think about image-making when you go from painting to printing. 

I have to go buy wood for two more paintings tomorrow, and I'm a little bit apprehensive. I stopped at Menard's  yesterday, but when I saw the number of varieties they had I panicked and ran away. I'll be braver tomorrow.