I started with a 84″ x 72″ stretcher. Lots of work to do ahead. After I stretched the canvas, applied two coats of gesso mixed with paint and medium. Started the drawing with carbon to layout the composition. The subject will be a dry land. Remember that My new proposal “Dangerous Land” is a response to environmental, social, political and inhumane worldwide contemporary issues. I give shape to an unstable space that no longer have or will disappear because of globalization, industrialization and global warming. This leads to natural disasters extinguishing life and nature.
After the drawing I started to paint from the bottom to the top mostly white, gray and black paint. I mixed it with acrylic medium, emulsion, glass beads, fiber thick, pigments, pumice stone and black magnum rock. I paint with palette knifes, brushes, sticks, roll, and my hand. By listening to music, it allows me to go with the flow and to be very spontaneous. I allow the paint to drip, to grow and to take it’s own course. I scratched the surface of the painting like a mad man. Like we all do to the planet earth. Worked coat after coat, after coats. Days passed and kept building coats, texture and defining the cracks. For most of them I used emulsion with carbon, silver, graphite, burnt sienna and magic green. This last one changes colors depending on the position of the viewer. I changes from red to green. I wrote phrases for later to be erased. I applied lemon yellow, violet, blue, gold and grays to the sky. I only use a very limited pallet. That leads me to mix the paint well and it is how I get all the richness in my colors.
The impossible tree changed position, shape and scale many times during the weeks. It became more impossible every time. I ended up painting it with silver pigment and stainless steel (in an emulsion mix). After few days of working the painting I took a big chance. It was time to make a huge decision. Should I apply the burn sienna pigment in top of the whole painting or not? That was the original idea. If i decided to go for this there was no turning back. After applying the medium and rubbing the dry pigment, all the painting richness and colors will be gone forever. What the hell, I went for it, knowing that the painting might end up as a nice texturized rug. I started applying the emulsion and mediums and rubbing the pigment with my hand and scratching with the palette knife. My fingers ended up in a bad shape. Some of the texture are composed by glass, pumice stone and black magnum rock. These particles cut my fingers since they have hard edges. But the music, the emotion and the passion of doing this painting didn’t let me stop. After applying the dry pigment I took a wet towel and removed some from the cracks. I didn’t apply any medium in this area so the pigment didn’t stick.
The richness of the paint was probably lost. But the process, the scars, the traces and my statement are very clear in this work.
Primavera que no llega, 2011
Acrylic / Emulsion / Pigments on canvas 84” x 72”