021 – Pamela Caughey – RF Pigment Sticks and taking RISKS, Cold Wax/Oil Painting 😊

021 – Pamela Caughey – RF Pigment Sticks and taking RISKS, Cold Wax/Oil Painting 😊


(upbeat music) Hello everybody. So, horror of horrors. This is a painting which
is hard to look at, to be honest with you. It used to have beauty,
saturation, nice marks, and I covered it all up, and so it’s in this really ugly stage, and I actually love this place right now. Where it’s at, because
there’s so many things that I could do. It’s kind of an endless
possibilities and summaries. When I go into the studio
and I see a painting that’s really, really, not looking good, and not exciting, I’m actually
pretty excited myself. It might be the reverse of
what other people think. I try really hard to get my
piece to get, to look like this. It’s shallow, in terms of paint layers. There’s only about two
layers on here right now. I did some gouging into it, but what I want to do now is, I’ve had time to think about it, and again, what I like to ask myself is, well what does this painting wanna have? It started with saturation
and then it went gray. So now it’s kinda like blah, and I also put a glaze over it, so that even made it more desaturated. All these areas here, used to
have pretty high saturation, but once they were grayed, I’m
sorry, once they were glazed, they became desatruated. So now the entire painting
lacks any bright colors. I really enjoyed working
with R & F Pigment Sticks. They’re totally compatible with
the cold wax and oil medium. They are pricey, but they’re two things that I think I’d like to do
with those sticks right now. Is add saturation, and at the same time, I want to kinda apply them thickly, because that’s gonna set
up all this great texture, when I cover them up. So I know that I’m not gonna
leave those pigment sticks, that will not be the final layer. But due to their consistency,
sometimes like when you, if you don’t take the skins
off of these pigment sticks, then you’re gonna get a
little bit of that left on the surface, and by the
time this all gets covered up, it’s just gonna add to
the textural complexity, and surface complexity, and
that’s what I’m kinda after. This is part of a series. This is one painting. The diptych that I’m working
on, that’s black and white, is another part of the series. There’s a total of about
eight panels right now, that I’m working on, simultaneously. So if I post a video and
then there’s a long delay before you see the next stage
of that particular painting, it’s because I’m trying
to work on all of these at the same time. I try not to get obsessed
over one particular painting, because then it becomes too
precious, and too special, then you lack the ability to just play. I will just say that, by
having several things going, 10, 15, 20, things
going, it just allows you to take a lot more risk. I’m convinced that as you
work the series like this, one painting informs the next painting, which informs the next painting. And when you have paintings in a group, one may be leading behind
and then that one will speak to you because you feel like,
well I have to do something. And then your more willing to take a risk, because the painting on the
other side of the studio, maybe you did take a
risk with that and then look at the one that’s
kinda not up to par, and you’re willing to
do just about anything to get it there. You have a lot of comparisons, to work with and I think in the end, just that feeling of
it’s just not precious, and you’re willing to let
it go, becomes much easier. So I’ve prepared these
R & F Pigment Sticks. They tend to have a skin on them. You have to get that off,
if you don’t like the skin. So sometimes I’ll use a razor blade. Sometimes I’ll use sandpaper, or just few paper towel,
to kinda get that skin off. So what you revel is the
softer pigment underneath. I’m just gonna start applying these, but I carried these before filming because it takes a bit of time
to get these all ready. (scratching on canvas) (upbeat music) (smooth music)

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