' You Need to Have a Subject', She Said

American Redstart, Northern Parula and Black-throated Blue. Acrylic Painting by Ken Januski. 9x12 inches Copyright @2020.

When I was a graduate student in Studio Art I used to have revolving critiques by the faculty. Often one faculty member's opinions would  be immediately contradicted by  that of  the next faculty member.  It made me learn to think for myself artistically,  though I think  I was already quite a ways along in that direction.

But one opinion puzzled me. A well-know woman artist whose  work was quite involved with autobiography and narrative told me I needed to have a subject. But I was an abstract painter.  The painting itself  was the subject. So I didn't pay much attention to her opinion though it did stick with me. I should  add that personally I liked her as did most other  painting students,  and her artists  colleagues as well I think.  My rejection of  her opinion had nothing to  do with personality.

But I did think about it again when I  took up painting  birds and wildlife after many, many years of painting abstractly. In painting birds all of  a sudden I felt a need to be true to them as a subject, no matter how much I might abstract them. This need I think created an emotional grounding to my painting that was new to me.

I of course was emotionally attached  to my abstract paintings. It's hard to imagine doing any type of  art without emotional  attachment to it. But wanting to portray a specific subject, or maybe  specific experience since birds are seen and experienced in an  environment, seemed to make painting easier! My lack of knowledge of  birds, wildlife, vegetation, etc. of  course did not make their portrayal easier. But  I did  find it much easier to paint  because there was always some grounding experience to compare my painting to.

With all that said  I would add that one of my primary interests has always been portraying warblers, some of the most colorful birds in the US. So for more than 10 years I've tried to sketch them from life, mainly when they migrate through  in spring and then fall, but also from the few who breed here. I also tried portraying them in watercolor, crayon, felt tip pen mainly from photos I'd taken.

I won't  replay all the difficulties that has entailed. But I think it's safe to say I've never been completely happy with any of  my warbler portrayals until I painted the acrylic  at the top  of this page last week. FINALLY it seems to capture the excitement of seeing migrating warblers, especially the spring ones in their generally more colorful plumage.

This painting is  finished. I'm not going to do any more work on it. It's not every day you can say that you've done the best warbler painting you've ever done so it would be silly to try to improve it.

Curlew and Great Cormorant at River Deben. Acrylic in progress by Ken Januski, 9x12 inches. Copyright @2020/

By contrast I started this painting before the warbler painting. I had no intention of  stopping my moku hanga prints and turning to acrylic.  I've done less than 10 acrylic naturalistic/realistic paintings  in my life, none in the last five years I think. But it was World Curlew Day, I had no ongoing prints and I had seen and photographed some curlew on our trip  to  England 18 months  or so ago.

On a lark I  did  a large watercolor  of  this same theme -- a curlew and Great Cormorant near one another. But watercolor doesn't allow much in the way of revision so I decided to try again in acrylic. It was so exciting to be working in such a malleable, immediate medium again. I could change anything I  wanted, over  and over, and the over  and over again! This is  the way I spent most of my life making art.

After I'd revised this for a second time I decided to let it just sit. That's when I did the painting at top that I'm so happy with. When the warbler painting was done I went back into  this. I'm still not happy. And perhaps it's the basic composition. With an abstract painting it's easy to wipe  out an area and just paint over  it. I could do that here as well but  then, because there is a subject, I'd have to repaint  whatever I had painted out, a time consuming  task and one open to mistakes. Though I'm sure it would be worth it in the end if I decide to do so.

I'm still not sure that this will be required. But something bothers me about the painting so I'll continue to stare at it as I work on other paintings. In the end maybe I'll decide it's best just to leave it as is and spend my energy on new works. Either way the fact that this painting has a subject will continue to keep me grounded in how I determine what to do  with it. Now I  know what my old teacher was talking about.

And I should add that I will go back to printmaking, though I'm not sure when. Whenever I happen to look through my old sketchbooks  I  realize that at least 50% of my prints  stem from earlier paintings, mainly watercolor. I'm sure that these new acrylics will eventually lead to some prints.

I Break for Curlews

Curlew and Great Cormorant at River Deben. Acrylic in progress by Ken Januski, copyright 2020.

Over the many years of this blog I've written occasionally about the sideways nature of my progress in art, or perhaps assumed progress. My point is that I often head off in a different direction and/or medium at some point. I think the reason for  this is pretty simple: I need a break, though maybe I didn't  realize  it.

I wasn't really planning on a break from my moku hanga printmaking but a notice that it was World Curlew Day prompted me to take a look at my photos of the only Curlew we've ever seen, both in England about 18 months ago. Looking at them convinced me to paint the watercolor that is further down in this post. It was a quick one so that I could get it painted on the correct day.

This is  a fairly accurate portrayal of the scene. I just moved the position of the two birds closer together so that I could get them both in the picture. I also decided, intuitively, that a vertical format seemed best. So that's why there's so much seemingly empty space at top.  It was a fortuitous accident I think.

But it also reminded me of one of the main problems  I, and as far as I know just about everyone else, have with watercolor. You really can't  change much. Much of its appeal is the sense of freshness and light. If you try to paint over what you've already painted the painting often seems turgid, muddy and stale. And I know I've seen a lot of such paintings, including many of  my own.

After I'd finished the watercolor below I still felt like I'd like  to make some changes. I'm not sure why, perhaps it was just a matter of feeling like I had more time on my hands due to staying at home due to Covid-19, but I decided to try to repaint the scene in acrylic.

Most of my artistic career has been as an abstract painter in acrylic and later oil, though as I continue with both watercolor and printmaking that statement will eventually no longer be true. I think  I still try to  paint in watercolor as though it is one of those media. Every mark is put down just to see what it looks like  and then I can change it  if  I don't like it. But  of course watercolor doesn't work that way. And neither by the way does most printmaking. I suppose the amount of pre-planning and deliberateness necessary in both could easily build up a desire to return to  a more spontaneous and forgiving medium.

So it has been enjoyable to return to a medium where I can change  things over and over and over. The painting at top is close to being done. I guess the nature of a painting that can be changed endlessly is that it possibly could  NEVER be done! But most artists I think realize that you eventually just need to move on to something new. So I don't think I'll too much more on this.

I don't know how long I'll stay with acrylic. I'm enjoying it now and have ordered new canvases and some new paint. (Finding my large jar of white completely dried out will tend to get me to order new paint  given how  important it is!!).

I think it's important to keep art enjoyable. Sometimes that means changing media, subject or who knows  what for a while. I always find that I'm happy to return to other  media, like moku hanga perhaps, when I eventually do. 

Curlew and Great Cormorant at River Deben. Watercolor by Ken Januski, copyright 2020.