Process of a Painting
I took a process-painting workshop this past weekend called “Breakthroughs in Intuitive Painting”, facilitated by Carolyn Winkler (spiritmaskjourneys.com).
The idea of the workshop is to give up one’s habitual modes of painting, instead giving oneself over to a completely intuitive process. We paint with liquid tempera on paper, simulating the experience of painting as a child. From the very beginning, I’m thinking “Yippee! I get to paint like a child!… I don’t have to please anyone but myself!”… Yet, I must admit that there’s another part of me that’s thinking, “I can’t waste a whole weekend on this. I’ve got to create paintings for my upcoming shows. Yes, I want my work to be freer… but I also want to create a product I can sell!”
That dilemma was my shadow throughout the workshop. It really did interfere with my goals of completely letting go and giving myself over to the process. But eventually, the process won out, and I did experience a breakthrough in my work.
Here’s a synopsis of my progress:
I began by painting on a single sheet of paper, 18×24, taped vertically onto a foam support. Red, umber, and blues were the dominant color scheme.  The shape of a woman takes form almost immediately.
I soon realized that I wanted to expand beyond the rectangular edge of the paper, so I started tearing sheets, then adding them to each side, creating an irregular shape. Trees start to frame the woman, piercing a swirling sky.
After lunch, I decided the imagery came too quickly, so I painted over her.
I sorta liked this state, where she was half there, and half erased. I wasn’t completely satisfied, though, so I painted over her face completely.
Another woman appeared in her place.
At the end of the day, I looked at my piece and felt disappointed. She feels contrived… and the composition is stiff. I went home feeling a little annoyed. I asked myself, “Why is it so difficult to make a shift?” I realized that I had too many expectations of an immediate breakthrough. I wanted to paint, but felt too despondent. I read through my book, “Painting from the Source”, by Aviva Gold. I went to bed early, exhausted but hopeful.
The next day, I knew I had to completely obliterate the woman. I turned my paper upside down and taped it to the wall again. I added extensions of more torn paper.
Something definitely shifted within the painting (and myself) once I painted over the woman and started painting more freely.
Swirls of color start to flow from my brush. I don’t know what I’m doing, and I’m okay with that. I don’t need to have a plan, or to know where it’s going. I’m using more paint than I normally do because it’s cheap, so I’m not constrained by thoughts of cost. I do realize that I’m starting to get attached to these swirls now, though. So, after lunch, I turn the painting over again.
Once I turned it over, I immediately saw the shape of a bird’s head, formed from the swirls. I ask myself, “Is this image from the mind or from the heart?” I’m not certain, but it feels like the right thing to do, so I give myself to this idea… painting a wild bird’s head with a huge, glaring eye. I work further on the swirls of the sky, and as a last touch, green blades of grass against the red earth. Time is up, and I feel satisfied.
It was quite beautiful to watch as the mind released its need to know, surrendered to not knowing, and allowed perfection to emerge. What was evident was your commitment to the process regardless of the ways unruly mind dug in its heels in opposition to the grace of flow. Obliteration, whether of this moment’s work or of mind’s stories, beliefs and programming is pure soul clearing…clearing the dust and debris from the vessel in order for Divine design to presence itself. Thank you for sharing so deliciously with all the stages, almost as a movie of process moving throughout you. In admiration of your True Magnificence! Gayle Gregory
Robin: Very interesting. I took a process painting class one day here in Taos from one of Michelle Cassou’s disciples, and I was miserable. I seem to recall we were discouraged from letting ourselves consider a definite composition. I remember being called upon for lingering over the paints to select my next color. By the end of the day, it was clear to me that I’m a control freak that has a painful time being free…I see this in all my fiber work over the years…I’m glad you got past it and feel a sense of growth from your weekend.
yay! I’m so happy for you! it appears that you really put yourself in the fire .. and were willing to face it.
How do you think this will effect your future paintings?
yeay! so cool Robin
Hey Robin,
Interesting read — and very creative works as usual. I hope this blogging stuff works out for you (and me too – I just started). Anyway, perhaps the writing will help you focus your thoughts in a productive way as well.
Ciao, bella.
From Italia,
Love,
Kelly
Robyn, I’ve always loved the softness of your strokes and colors.
I really appreciate that you did a step by step photo shoot of your workshop.
How interesting and what a spectacular result!
First the various sides of this female portrait then the final apperance of the bird. Great touch on the eye by the way, the painting is so profound and very well presented so that i too can appreciate what it took to create that painting.
much love to you,
Silvana
Hey there – thanks for dropping by my blog earlier – I really enjoyed reading about your experience of painting for process – I think it’s the hardest for artists to let go and just see what happens, to not edit or analyze . . . the bird really sings, and feels very much like a finished painting. Your work is really rich and layered . . .
Hi Robyn
I teach art history, graphic history and in searching came upon your site. It is wonderful to see an artist exploring her media in this way and sharing it with the world. Opens minds and eyes. i will share your site with my students. Your art history comments are fun and informative. It is also a great way for me to show students how art history is alive today. Sometimes that is the rough concept to get across.
Anyway, thank you for sharing your work. Plexiglass….hummmmm
Judy Pekelsma
I teach process painting here in Denver, CO. I have been using this process to create art since I took my process painting class in 1988 from Aviva Gold: Painting from the Source. I think there is a real benefit to doing it as a 2-day workshop so that if you don’t break through in day one you can do it in day 2. Some people don’t – and some people I have seen refuse to follow the directions. I had one guy go free on day one and freak out and go back in his shell on day 2. I had a woman in a one-day workshop never break out, but 6 months later she contacted me to tell me she has been working everyday for about 4 hours a day or more. It can be very healing. And it may not happen during the class. I would say, 90% of the people get it. I did! It freed me from being a commercial illustrator and I became a fine artist as a result. I have not been creatively blocked since then.
HI Robin,
I admit I did not read your entire blog, but I was intriquied by your ‘altar’.
I am sure you are not the first to do so…but none the less, I really enjoyed looking at the items of significance to you.
Of course the photo of our Dad is not only special but trancends any words that one can use to describe it. I do not have an altar, but if I did that picture would also be in it. I like what you said about Mom because I think it captured her spirit…she really did not take things too seriously sometimes…it was her gift.
And I like the ones with stones that have been smoothed over with wind and water….I love everything with interesting textures.
Well just wanted to say Hi….and let you know that this was a very healthy distraction for me at the moment when i so need it. Love!
Hi
As newly registered user i only want to say hello to everyone else who uses this bbs :>