In December 2022, my painting practice changed

I had developed a body of work, and no longer felt a push to produce finished work for upcoming events. I developed a slower, more reflective mode of working. I started working on paper, and in sketchbooks. I gave myself time to explore ideas and investigate questions, rather than starting work on a painting series. I had three large abstract paintings in process, but I put them aside while I tried to answer questions about them for myself: what are these paintings about? what am I trying to say? how can I simplify the compositions? how can I incorporate expressive marks into the work without losing the geometric structure I prefer? can I bring my interest in vessels and florals into my abstract work? what is the exact shade of orange I am looking for? After answering these questions, and following my impulses, when I went back to the paintings, the resolutions were clear. And these paintings are far closer to my intention than anything I have ever painted.

I collected these investigations in a sketchbook. I added my written reflections. Having the evolution of my thinking organized in a single sketchbook, gives me a resource for future reflection, and a place to look back on when I am stuck.

In the three months when I was not making paintings, I realized the value of what I am now calling sketchbook work: work that is not made to share with others or is not intended to be a finished piece of art. It is where the real growth and magic happens. For me, finished paintings have become a reflection of my sketchbook work.

Though I have returned to working on paintings, I have made a commitment to myself to spend as much studio time on sketchbook work as I do on paintings.

In my newsletters, I will post a reflection on my sketchbook work (maybe with a photo, maybe not), along with two prompts for painters.

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