Reasons For Drowning
 

Well, long time no see.

This was commissioned as an (insert "i"-word here) for a CD cover, and I tweaked a lot of elements to fit into the square format. Still, I truly wanted to evoke a classical feel, as well as an evocative mood.

Oil on MDF, 14" square.

Hi Rob,

First of all, I am very impressed with how you're stretching yourself - first the nudes, then the landscapes, then the clouds, then the nudes in the landscapes with clouds... . They feel mysterious and provocative. You are really expanding as an artist, not just in technique but in concept.

Nudes can have so many meanings in a painting. Did you have a reason for painting her nude instead of clothed?

I've looked at this one for five minutes now and I still can't describe how I feel about this painting, which means that I probably ought to come back later and give it another try. It's a haunting visual, quite edgy, and almost gothic. The image that popped into my mind when I first saw this was the final shot in the movie "Deliverance", though you're probably too young to have seen it.

Can you explain the title for us? Can you explain why she's on top of the water? Are we seeing her in moonlight? Are you trying for a convex effect in the sky? Am I asking too many questions, especially since you posted in the Unveilings section?

Rob -

It's hard to make words describe pictures, but this FEELS like music. Haunting, evocative. (it is a music CD, right?) What kind?

Anyway, I really like the mood youve created, and the figure in the landscape works really well together. Kudos!

Rob, I like this a lot. . . it has a sort of dizzying feel to me, like she's caught in a vortex. Helpless. The sense of twilight gives it a very haunting effect. Kudos!

You forget that like yourself, Linda, I am a teacher - and questions are always welcome!

You are too kind with the "stretching yourself" sentiment. I feel, oftentimes, that I do not stretch myself enough. My being AWOL from here is due to the fact that I have been knee-deep in landscapes for months, leading up to a holiday show. I have to admit to myself that is what I do when it comes to my art career right now. This painting here is my stepping out a bit when the opportunity arose.

"Reasons For Drowning" is the title of the CD. My friend Phil is the leader of the band, dubbed Initial Ascent. He is also a composer of chant music, leading a Schola Cantorum at my local parish - which happens to be the archdiocese of Portland - the Cathedral of the Immaculate Conception. An impressive place for music, if not for other things. He is also the choir director and organist there, too. Basically, he is a 35 year old musical genius, and I am blessed to call him my good friend.

The image here is based upon the music within. It is dark and unctious (piano, oboe and violin), and incredibly complex. I am not ashamed to tell you that it goes over my head at times, yet I know it's brilliant. I was so fortunate to have sat in his studio, one on one, and listened to pieces of these movements as he completed them. He had already released some things locally, and I decided that his music needed to be packaged in something with some more thought behind it. I volunteered my services (I was paid in single malt scotch - a very expensive one. Very fair, in my book).

I discussed my visions with him of what I saw when listening to the music. He agreed with my landscape visions, as well as the palette I was seeing. However, he insisted on a nude. He wanted the female form for beauty's sake, and because of the innate sorrowful quality it can convey. I was ecstatic, for I really feel that the nude in the landscape is a huge vehicle in terms of my expression as an artist. I now hadlegitimate reason to explore this since "Caesura" from a few years ago.

This was a difficult piece from a technical startup point, as I wanted a winter sunset with the figure laying in shallow ocean water. The light is not wholly true, but I wanted a certain consistency that seemed believable. The model was studied indoors, and the landscape was separate. This was mostly due to light conditions, cold water and me without the correct photographic equipment. I relied on notes I took while walking amongst the rocks and sand of the Cape Elizabeth coastline at dusk in December.

The sky effect is based upon actual cloud forms that I witnessed, but a totally different palette. It is a much broader skyscape than such a tight format could hold, so it has a bit of a convex appearance. What was most important were the angel-wing shapes of the cirrus clouds, which I moved around to get the composition to really flow. Same with the white pine - which resides in the large cemetary near my house. My "cloud period" really paid off; I can get the effects I want without thinking about it now. Intensive study works!

I am a film buff, so despite my tender years (oh, please), "Deliverance" was seen several times in my youth. A friend introduced me to it to get me out of my Kurosawa phase.

Okay, that's enough outta me. You knew I would ramble, didn't you, Linda? ;)

Julie and Terri -

Sorry - while I had my face planted in the keyboard, you made some lovely and incisive comments. I thank you.

You're spot on, Julie - it IS a music CD. I wish I could give Initial Ascent a genre, but it's so unique. For the sake of not knowing any better, I'll call it minor-key chamber music with jazz-like extrapolations.

Terri, hang on! Don't run too fast past the image, or you'll get sucked in! Hey, I guess it works. I'm glad of your reaction, as dizzying as it is. Thanks!

Rob, I recognize the Maine landscape, but you have done something eerie with it that evokes such different emotions than the ones I usually associate with it. There is a kind of dizzying, whirlpool effect caused by the curve of the background and the position of the woman; she actually seems to be swirling or spinning. I've been staring at this, too. It makes me want to buy the CD! (Can I?)

I think you did a great job with the clouds, tree, nude figure--everything. But the amazing this is the way they come together. Not only do they work in terms of composition, lighting, color, value, etc., there's a feeling (from the artist's point of view) that you had total awareness of your concept and total control and focus while realizing it. That's a nice place to be!

I love it!

Ah, Alexandra - if only it were as easy as it looks. Actually, I had a good grasp of it all, but piecing it together technically was a challenge. The reflective light on the figure was only a combo of my speculation and observation - no actual imagery to go on. Years ago, I would never, EVER have trusted myself to rely on these things alone. I guess I'm growing up.

But, I thank you for seeing it as whole and complete. This confirms my suspicions that it worked. Whew!

You can find Initial Ascent on CD Baby. Just type the band name into the search box. They give a more apt description of the music than I could write!

Beautiful, moody and evocative. I want to hear the cd also. It sounds like you and your friend have managed to be "congruent" (very difficult when working with musicians).. I like this a lot.

Jean

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Rob, this is awesome! Execution in the clouds. I

Now my 17-year-old son (a violinist and spare-time composer and portrait painter) wants to buy the CD also. He did listen to a segment of the music, however, so it wasn't just the cover, but it definitely had an influence on him.

Jean, Mark and Mischa - many thanks!

Mark, no worries. I designed the type and all the packaging. I taught myself Photoshop and Illustrator when the millenium turned over. I was once a full-time illustrator, so I felt it was prudent to know these things.

Alexandra! I must tell Phil that he is already influencing young musicians! He will be ecstatic.

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Linda wrote: My thoughts exactly. Perfect for the music you describe.

Rob -

What an achievment! Excellent execution, excellent composition. That will definitely sell some cds, and that can never be bad for your portfolio! Did you enjoy the experience?

Congratulations,
Linda

I don't know, Michele. I think that sometimes Linda B. knows my work better than I do!

And hello to Linda N! Long time! Thank you for your lovely words. And to answer your question - it was hard to find anything BUT enjoyment in the experience.

Working in tandem with another artist - especially one so incredibly gifted, in this case - is a situation that I think we all would love to have. I had to pinch myself on numerous occasions - especially when I arrived at his studio after a looong day of teaching: He put a glass of Balvenie 15-year in my hand, sat me down in a comfy chair, and proceeded to play a haunting and beautiful movement on the piano. He insisted on doing this on a weekly basis as integral to the project. I thought, "What did I do to deserve this?"

Another huge thing (that I'd mentioned before) was the fact that the very nature of the agreed-upon visual was concurrent to my penchant for the female figure in a landscape, and how they can work together to create an overall mood, color or emotion. It's VERY rare, I find, that I can paint what I truly want and have it fulfill a particular need. Let's hope this keeps happening; it makes for better art from me.

Isn't that great! I had a similar situation working with the directors of the Pacific Northwest Ballet company on this painting: http://www.michelerushworth.com/ballet2.htm

It was truly a "peak experience," having a creative collaboration with the two of them.