"Nova" in the mango patch

[Mike McCarty]

This is Nova, oil on specialty paper, mounted on archival board, 8x10. The paper pretty much took over the show and precluded any kind of highly finished look. It was fun to do and forced me to paint in a more direct alla prima fashion. I'm kinda partial to the tightly cropped version, forgetting about all the rest. I wouldn't mind going back some day and doing this on traditional canvas with a higher finish.

[David Draime]

This is really interesting, Mike. I agree with you, the tightly cropped version is very strong. In it, I really like the way the backgound reads as well as your painterly approach. A lot of potential, I imagine, working with these materials.

I wonder though, how truly archival this is. Wouldn't the paper deteriorate over time, even if it is mounted on archival board? Just a thought, I really have no idea. Around the image I think I see a dark halo around what you've painted. Is that the paper sucking the oil(s) out of the paint? Actually, it's an effect of this work I really like. But will the oil continue to spread? Or, to re-phrase the question: will your work on mango paper continue to "suck" ?

Seriously, I would love to see more. I'm intrigued.

[Mike McCarty]

David,

Many would say that my work will continue to suck regardless of the materials I use.

Before I began this piece I took some of the off fall from the mounting process and painted swatches of each of the colors I intended to use onto it. I could not see any appreciable sucking. However, I did add a good bit of linseed oil during painting and there is some leaching around the edges as you point out.

This was experimental all the way. The truth is, I was trying to create something that was different, something with a bit of an edge.

Funny thing is, I was advised to spray the paper with the new Golden archival varnish before I started the work. This was to keep the leaching to a minimum. Guess what, I got half way through and realized that I forgot to spray! Fifteen dollars and I forgot to spray. When it dries sufficiently I intend to spray the piece. This may help it in the long run. I still have some samples, I think I will spray one first and then apply some paint with added linseed oil and see how it reacts.

I may decide to display only the cropped version.

[Sharon Knettell]

I like the cropped version. One way out of the corner is to only draw the lines of the chair somewhat in the manner of Marvin's latest oeuvre.

Paint on paper will as far as I can see , will always be a problem. Could you have done this as a pastel?

It is STILL a very interesting corner and I am glad you took the chance. There are may aspects of this that are quite beautiful and unexpected.

[Mike McCarty]

Sharon,

I considered doing pastel but I think it would not have worked as well. The paper does not completely lay down and offers plenty to snag on. There is a bit of a "fur" to it, along with the branches of the leaves. I don't think it would have tolerated any kind of heavy handed approach, which tend to have with pastels.

My cynical side (which constitutes about 80%) suggests that it only need survive until I photograph it. If it disintegrates it will happen on my wall.

That's it, the cropped version stays and the rest goes. I'll mail out the reduction of image forms for everyone to sign today.

[Mike McCarty]

Here's Nova all framed up. This is about as edgy as I could make him. This should teach him not to run up and down my staircase while I'm trying to take his picture. I'm having a couple of giclee's done just in case this one disintegrates.

[Patricia Joyce]

I really like this piece, Mike! There are some passages of color which are very unique to the texture of the paper. I particularly like the pale pinkish passage which runs from his forhead to the right (our) corner of his mouth.

I'll bet this was fun to do and you may have discovered a niche uniquely yours.

Do another one!!!

[Julie Deane]

Cool, Mike! I really like this piece.

About the frame - did you design it deliberately so that it looks like his arm continues outside the frame (the lines of the arm lining up with the curlicues)?

[Mike McCarty]

Patricia,

It was fun to do. I am the type that wants to resolve everything down to the nth and this surface would not allow that. It forced me to paint in a way that I have always wanted. I think having completed this it will give me more confidence to loosen up.

Maybe it will ... After racing through the face and hand I found myself tightening up toward the bottom of the piece and it started looking like two different paintings. This is the main reason I cropped it off.

Julie,

Actually I didn't even notice how that connected. But from now on I will swear that it was my intention.

[Sharon Knettell]

Mike,

That frame is gorgeous.

I forgot to ask about the paper as I am such a maven. Where did you get it and what was the compostion cotton, wood pulp?. Was it handmade? Did you have problems with the surface?