Mikael Watkins

The Tower

oil on canvas

Totem

oil on canvas


Wojuha Mah

oil on canvas

Process

My work usually begins very simply. I will start a composition with a shape, which most often is the Golden Ratio. From there I think in terms of establish and reestablish, working additionally or reductively to bit by bit, make the composition more complex and to my liking. This process is usually done on paper as a sketch so I can look over the initial product and decide what colors and other figures I should use. From then, i will translate this sketch onto a larger canvas. Though I use the initial sketch as a guide, the painting usually tends to head in a slightly different direction. I have noticed that for me, the easiest way to build an intricate compositional piece is to start with a simple base, and continue to add thought out elements.

Progress

I strongly believe that every piece should be stronger than my last in multiple elements of a piece. These elements consist of, but in no means are limited to; composition, symbolism, intent, color usage, complexity, etc. Ensuring that I build strength and knowledge in the use of the formal and contextual elements of my work. I tend to try and stretch a piece to the highest point of what I think my current abilities are. When the piece is done, I intensely analyse what could be better about it, and carry that on to the next piece. In doing so I’ve realized that, as an artist, if I can come up with it, I will find a way to do it. Meaning my abilities are only as limited as my creativity. This creates a path for becoming better with every piece I do, in terms of execution and content.

I usually like to think that there is no such thing as a finished piece in my portfolio. I halt my process when the piece looks good enough to move onto the next one, or meets the expectation I held when I started it. However, I never declare anything finished. This is because I may look at it a month, a year, or even a decade later and have a new set of ideas that would make the piece even better.

To surpass my last piece in quality; aesthetic; context; and form, I require a very specific mindset and environment. To conduct the feelings and emotion I inted unto the pieces viewers, I myself have to be in that mindset when creating it. To achieve this, I will invest myself in a deep meditation, alongside some of my most powerfully sacred music. I’ve found that when I push or search too hard for a composition, it is harder to find. So as I meditate with the intent of starting a piece, if it is meant to be, ideas will flow into my head and infront my shut eyes. If it is not meant to be, I give it a break and start fresh some time later. I’ve found I am never near satisfied with a piece when I force myself to work, because I don’t feel the flow. And what usually results if I struggle to retain inspiration, is that when I try again the next day, or whenever it may be, I end up coming up with a piece I like so much that I am thankful I couldn’t come up with one in the past. I usually have a gut feeling as to if I am on the right path or not, and if I don’t have this gut feeling, then I try not to push it.

Untitled

graphite on paper

Untitled

graphite on paper