Orchids evolve

Studio Orchids II, oil on panel, 20x16

Here is an oldie but goodie. This piece originated in 2002 when I was very interested in orchids in particular, and plants in general. I liked doing what I considered 'plant portraits.' Not so much in the botanical illustration mode, although I did take a class in that at the Denver Botanic Gardens at the time. For me, being what some consider a detail-oriented person, botanical illustration did not appeal to me.

I had orchids lining every windowsill in my home. This scene was in my studio. I was even a member of the Denver Orchid Society so I would have access to more varieties of orchids. I still like having an orchid or two around the house, but I no longer have them in every window that was feasible. Working on this painting has made me realize that I miss the color and the jauntiness of orchids in my life.

Not sure I should show the original version, but here it is, painted from life. Oh, the things that I have learned over the years! What is 'wrong' with this version, as if I need to point them out, they are so obvious. No, instead I will focus on why I thought it worth saving: It shows the character of the plants coming through which was my goal at the time.

The window faces north. So the light coming through the blinds would not be warm. First thing that had to change. Second, the perspective has every thing falling off the canvas to the lower right. Can't have that. Funky Orchids was the title of the painting as I tried to take a lighter, less serious approach to my work, but there are still some things that need to be considered, even going for a less formal format. The Moses in the Cradle leaf coming into the painting from the lower right had corner was supposed to help with the tilt of the blinds and board and it does, but not enough. Luckily the drawing of the plants themselves was good, and only required a little tweaking, the blinds and putting the plant stand in where it belonged took a bit more brain power. Unifying the shadow shape was helpful too as I tried to be more true to the light source. I can't believe now that I put all the shadows into black but back then I thought it would help the flowers be more colorful.

I was reading in "American Art Review" earlier this week an article on an upcoming Richard Diebenkorn show opening next month on his early years. I was heartened to read this about him and his process:
"Many have described this process as one of trial and error-even Diebenkorn himself-but it was not so much that he was creating and correcting 'errors' as he was attempting to find a better way, the extended journey being relevant to his final result.".. then finishing with "He kept working until he believed the painting was not wrong anymore, feeling his way until, in his mind, the painting had somehow become "miraculously right."

This idea has been floating around in my head for awhile now, and I liked that the journey was the important thing for Diebenkorn. And the idea of not correcting errors but finding the rightness.

I do hope I can get to Sacramento's Crocker Museum to see the show this fall.