The painting has the touches that I felt needed to be present for the demonstration audience, and I brought it back to the studio looking like this. Even though the major details are now in place, I'm going to adjust and make some major shifts in it when I can calmly look at it in the quietude of the studio.
I enjoy doing demonstrations, as I tend to talk-talk-talk, sharing information as the brushes are moving (those who have the newest DVD will attest!). But the painting at this stage lacks the nifty details that makes an acrylic under my hands so much fun to visually enjoy.
We do need to step away from our work to get a better feel for it. Women especially tend to noodle paintings beyond saving because we are wired to believe that "if we just DO something, it will be better". And that noodling generally results in disaster. I know the men reading this are nodding their heads, having told their wives, wishing they could say "Just leave it (AKA me) alone," as we women try to fix things. So I've trained myself to walk away from my art, knowing that when I return to the work, it will be with a fresh mind, able to see more clearly what needs to be done. So it is with this one.
Since I'm still in Chicago, I've been unable to noodle the painting, even if I wanted to, so this is accepting what is, and that's always a good thing.
Flying back to California on this first of November, el Dia de los Muertos. May you have recovered from the spooky goblins and skeletal hauntings of Halloween to remember one's ancestors today!
I will be giving a three-day, spaced out over several weeks workshop after the New Year for the folks in the Temecula area.
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