"Woolly's Bay" 5x10
It's interesting to reflect on how my approach to painting has evolved over the years, particularly in terms of finishing techniques and the pursuit of freshness in my work.
"Woolly's Bay" 5x10
One of the most significant challenges in landscape painting is maintaining the vitality of a smaller study when scaling up to larger pieces. Through my research into traditional landscape painting methods, It's easy to lose the original proportions and freshness when increasing size. For example, this peninsula that commands attention here in my small study might shrink a bit as I scale the scene up. I may do some gridding when scaling it up, ensuring the crucial proportions remain intact.
My painting process has evolved significantly over time. I used to work extensively on hardboard with transparent gesso, lately I've moved away from that approach. These days, I prefer surfaces with a more uniform tone. I work in what I'd call a direct method, typically completing most of the painting in one session after establishing an initial drawing.
Breaking free from over-finishing has been a significant development for me as an artist. Recording my painting process on video helped me recognize when to stop. I'd often see that magical moment in the footage where the painting looked just right, before I then worked it to death. Dry brushing used to be a go-to technique for me - lightly pulling a minimally loaded brush over dry paint to create interesting textures and soften edges. I've largely moved away from this approach, though occasionally I'll use other techniques to adjust hard edges when necessary.
What truly interests me now is capturing the struggle between observation and expression. When I'm working from reference material, I'm not trying to create a perfect reproduction. Instead, I'm interpreting what I see through the filter of my aesthetics, experience, and intuition. This approach means accepting certain compromises, but that's part of working in a fresh, direct manner.
For those looking to develop their own painting practice, my advice remains consistent: paint more. This might sound simplistic, but it is fundamental. Start small, perhaps with quick studies using a single color like burnt sienna. Don't wait for the perfect moment or the perfect subject. Just get some paint on a surface and start exploring.
The fear of not creating something "good enough" often prevents artists from painting at all. Instead of aiming for masterpieces, try creating quick, small works - 5x7 or 8x10 pieces that don't feel overwhelming. The goal isn't perfection but rather the act of showing up and engaging with the process.
Here in "Woolly's Bay, I'm particularly pleased with how I captured the waves picking up sand - a challenging effect to achieve without making the waves appear stiff or artificial.
The most fulfilling aspect of being an artist isn't in trying to create perfect paintings - it's engaging with that fundamental human desire to create and express. When we stop obsessing over perfection and embrace the natural struggle of the creative process, we will produce our most authentic and compelling work.
Take good care and stay out of trouble!
M Francis McCarthy