I realize some of you are waiting for me to post more about the large painting I'm demonstrating, but, deadlines called and I had to switch gears and begin work on a couple of pieces for the National Museum of Wildlife Art's Western Visions show. I will get back to working on the demonstration piece very soon and I hope to post more of the demo in the very near future.
The paintings (and this year, a drawing as well) which I create for this museum show, I truly labor over. That's not to say I don't with all of my work, but in the case of this particular show, I like to take my time and really focus on developing a strong concept and be meticulous about creating a painting that clearly communicates those attributes of my work that make it uniquely mine. I feel doing this results in the best possible painting for this show.
The museum has been extraordinarily good to me and it is a tremendous honor to have my work included in a show with the likes of Clyde Aspevig, Bill Anton, Tucker Smith, Morgan Weistling, Mian Situ, Z.S. Liang and so, so, so many others. It goes without saying that the quality of work at this show is tremendous motivation for producing my best — which is partly why I spend so much time on such a small painting (it’s a miniatures show). It’s important to me that not only I be proud to submit the painting to the museum — and also feel it can stand on its own among such an array of great pieces — but that the museum be proud to present it to their patrons and the general viewing public.
Yes, I do feel a lot of pressure in creating this painting, but I’ve often produced some of my best work under great pressure. Pressure isn’t necessarily a bad thing for me.
In a few days, when the painting is dry enough to scan, I’ll post it here.
Well, back to work.