1. Work on a much bigger scale (think mural-size)
This is something I've been planning on doing, but want to make my big international move before I begin (I don't want to have to ship wall-sized art across the ocean). It's the reason I've been over at W's studio learning how to do the carpentry necessary to build the massive canvases.
2. Integrate areas of calm into the compositions
He's right about integrating areas of calm into the work. They're scream-y yet monotonous, like blaring static. If I change my process I think it will help solve the problem. I'm pretty much finished doing the paper and paint thing... I've done it to exhaustion and need to move on, or at least morph it into something else if I keep going with it. I can't let the technique upstage the art, which I think is a lot of what's happened in my recent work.
3. Give them a soul
This is where it gets interesting. I've been ruminating over this and I know the essence of what I'm going to do. The subject matter is not a problem, I already have that worked out (and have for years but never really put it into any of my paintings), it's the execution that will take time and consideration. I plan to create some large drawings and sketches which will be the blueprints from which I execute my future wall-sized paintings. The drawings will be easy to transport, and I'll be able to really work things out before diving into a huge piece when I get a studio set up in Berlin. I'm excited to get started.
I photographed W's new work yesterday so I can put them up on his website. Here are the two I've color corrected so far:
God his work is so good. It's been amazing seeing him work on these two. They've gone through massive changes, morphing from one day to the next, getting better and better all the time. They are both enormous, about 8 or 9 feet square.