|Close Red and Yellow Bands 72" x 48"|
Artists’ mark making is so personal; it may be deliberately planned at first, but then it becomes part of the flow of creating, an intimate part of their artistic process.
When I interviewed some Wilde Meyer artists about the way they work, quite a few told me that they like to use many layers when they’re painting. Melissa Johnson said that the process of layering “shows the history of the painting.” Melissa’s unique marks are related to the variety of tools she employs – never a paintbrush because she hates cleaning them! Instead, she uses old plastic gift cards; her husband’s old driver’s license, chopsticks and crushed paper, to name a few. “Each tool has a different flexibility, which gives different textures,” she said. If Melissa wants to pull paint away from the canvas, she uses tin foil, waxed paper or tissue paper to achieve different results.
20 " x 20" oil, cold wax & metal leaf
20" x 40" oil, cold wax & metal leaf
8" x 10"
oil, cold wax & metal leaf
8" x 8"
oil, cold wax & metal leaf
Brenda Brevik describes her work as “representational, but not highly rendered.” There is definitely recognizable imagery in her paintings, but she is more interested in the physicality of the painting process. “I want to show evidence of the trip,” she said. “I use layering to add depth, and give the viewer some eye candy to explore the painting.”
|2 Nudes |
60" x 48"
|Breaking Free |
65" x 57"
Brenda’s layering often takes her painting from one subject to another. She said that “Breaking Free” started out as a painting of Mt. Whitney, then became an abstract, and then she added the horse. Her brushstrokes give the painting great energy, especially the flying mane, and the pop of orange squiggles on either side of the horse and the fuchsia one under its foot. This painting also shows another of Brenda’s marks: areas of dripped paint. “I like the pattern that’s created when I let paint with medium drip from the brush,” she said.
50" x 40"
|Green Left Foot |
16" x 20"
Ron Russon has a degree in illustrative design, which is reflected in his stylized depiction of animals. “I used to paint traditionally, but I got bored,” he said. “So, I started to use non-traditional colors. That opened up a whole new world, in which I could make my own rules.”
In addition to his color choices, Ron’s marks also include thinned paint dripping, along with a mix of flat and three-dimensional rendering, all in the same artwork. You can see this technique in his painting entitled “Green Left Foot.” Ron said that he likes playing with planes, crossing back and forth between realism and his imagination.
Like the other artists mentioned above, Ron doesn’t use a paintbrush very much. He’ll use one to draw in the shapes, but then takes up his palette knife to add blocks of color, scrape away areas, and create textures. “Charolais Bull” is a good example of his mark-making process: the horizontal lines are both applied paint, and paint scraped away. Ron explained, “I started with drips of oil paint and turpentine, then I drew in the bull vaguely, then I moved back and forth, like a dance, between realism and abstraction. It’s like a dance: I lead and the painting follows!”
|Charolais Bull |
48" x 48"
Most of all, Ron said that his style is always evolving, and that he strives to provide his viewers with something interesting to look at and reflect on. I think that his marks, and those of Brenda and Melissa, are successful in doing just that.
See more work by Melissa Johnson, Brenda Bredvik, and Ron Russon at Wilde Meyer Gallery.