The taxes are at a standstill while my IRA advisers try to figure out who coded the rollover wrong and why the feds think I was the recipient of a huge disbursement that was taxed, and which if uncorrected stands to have me owe $12,000 in unpaid taxes for last year.
So I thought I’d paint for a while.
Here’s the most recent thing I was working on.
You will notice that I’ve been futzing with it. I am so far from thinking it’s going well that I will not comment on it. And yes, I’ve turned it upside down. I’ll let you know whether that did any good or not later.
At the moment, of course, I have to produce a painting for the Patrons of the Centre event at the end of the month. I served on the committee for the Brooks Arts Scholarship, and while discussing with my fellow committee members what an awesome group of polymaths we all were, I divulged that I had started painting again. I was immediately asked to cough up a painting for the silent auction. My vanity could not say no.
In a traditionally Lichtenbergian maneuver, I am here blogging and putting up this shot of the board with a couple of pencil scribbles on it. You can tell absolutely nothing about the thing, but as long as I keep writing here, I don’t have to break out the paints and actually, you know, produce art.
OK, I guess it’s time to go clean off my palette and get started. It still has gobs of dried up gouache from my recent efforts, including the octopus I painted in fluorescent paint out on Craig’s studio wall last November, and I need a fresh start.
Here it is a little while later, with some color blobs on it. Magnificent progress. That’s what I’m calling it, magnificent progress. Actually, I’m calling it a break for a while, since I have to go to a special Masterworks rehearsal for the “men’s ensemble,” i.e., those of us who volunteered to sing the porters’ quartet in “Moonshine Lullaby” because the men as a whole weren’t getting it. God bless Irving Berlin.
6 thoughts on “Painting, 4/6/09”
Lyles creates a romantic world of color and light; texture and beauty. His paintings immediately convey a romantic view of the world he sees around him. His unique palette knife layering technique of wet paint on wet paint gives his art distinctively rich texture and color to enhance its ethereal qualities. Lyles is one to watch.
I think you have the wrong blog. Try either this one or this one.
Sure, Jeff will analyze your painting but won’t do assignment L.09.2 about the Museum of Bad Art.
I hope those “experts” we talked about last summer that advocated staying with the market have finally seen their error, but I doubt it judging from the comments from some people in the news media.
I thought the pencil work on the spectral patina was a cheery homage to Twolmby.