Ophelia's left breast/My ticket to the Vatican
I have finally gotten myself together enough to go to the lumber store, buy a sheet of 1/4" finished plywood (a disaster, by the way--should have gotten masonite, except they didn't have a scrap piece big enough and I didn't feel like buying a 4x8 sheet), paint it a medium-dark gray and begin my mammogram series; the first of which being called "Ophelia's Left Breast."
I envision, if envision is the right word, scrawling, as is my wont, the title of the painting someplace on the surface of the thing, much like "Hey Joe..." appears on "Hey Joe..." Which would be this:
Hard to believe it once looked like this:
But hey, ain't that the miracle? And where else, dear reader, can you see the painterly experience with warts like the above image?
Look at this face:
And now this:
One is a close-up of "Hey Joe..." and the other is a self-portrait by Rembrandt. The differences are instructional: First and foremost, the evidence suggests that I can't paint nearly as well as Rembrandt (Although let's see how he does with a paint stick instead of a brush--the operative notion here at TYOMP being that any idiot can paint with a brush). Second, on a more positive note, part of what gives my boy Rembrandt's stuff that certain edge is that his subjects never appear to be directly facing the viewer. The chin is always stuck out to the left or right while the eyes are always turned--usually more dramatically than this one--to confront the viewer. Which is what made me think of Rembrandt while I was staring at "Hey Joe..."
Anyway, this is so my ticket to the Vatican.
Plus, if you look closely at the dark area above where the title of the painting is written you see this heavily worked, very dark area. It's the result, in the case of this particular painting, of working and reworking and blacking out and reblacking out, in no particular order. I'm trying to get that same level of intensity with the surface of my mammogram.
It's hard to describe and I'll spare you the early images because they'll just push you off in the wrong direction and I'll get a bunch of annoying correspondence, blah, blah, blah. Better we wait just a little bit.
Plus tomorrow--stress test results day (although it's been leaked today that BofA will need about 45 big ones to put itself in position to pass the damned thing)--I'll be outside with my Pandit painting. Which, as you know, looks like this:
I envision, if envision is the right word, scrawling, as is my wont, the title of the painting someplace on the surface of the thing, much like "Hey Joe..." appears on "Hey Joe..." Which would be this:
Hard to believe it once looked like this:
But hey, ain't that the miracle? And where else, dear reader, can you see the painterly experience with warts like the above image?
Look at this face:
And now this:
One is a close-up of "Hey Joe..." and the other is a self-portrait by Rembrandt. The differences are instructional: First and foremost, the evidence suggests that I can't paint nearly as well as Rembrandt (Although let's see how he does with a paint stick instead of a brush--the operative notion here at TYOMP being that any idiot can paint with a brush). Second, on a more positive note, part of what gives my boy Rembrandt's stuff that certain edge is that his subjects never appear to be directly facing the viewer. The chin is always stuck out to the left or right while the eyes are always turned--usually more dramatically than this one--to confront the viewer. Which is what made me think of Rembrandt while I was staring at "Hey Joe..."
Anyway, this is so my ticket to the Vatican.
Plus, if you look closely at the dark area above where the title of the painting is written you see this heavily worked, very dark area. It's the result, in the case of this particular painting, of working and reworking and blacking out and reblacking out, in no particular order. I'm trying to get that same level of intensity with the surface of my mammogram.
It's hard to describe and I'll spare you the early images because they'll just push you off in the wrong direction and I'll get a bunch of annoying correspondence, blah, blah, blah. Better we wait just a little bit.
Plus tomorrow--stress test results day (although it's been leaked today that BofA will need about 45 big ones to put itself in position to pass the damned thing)--I'll be outside with my Pandit painting. Which, as you know, looks like this:
posted by Geoffrey at 7:51 AM
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