ZION CANYON
2002
Oil on Canvas
42" x 36"
$2200
Robert Lait
http://robertlait.com
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I typically work on three to six canvases at once, each surface gets covered in succession and the schedule is determined by drying times. I put on many layers of paint, with different medium recipes throughout the process. I use palette knives to apply paint directly to the canvas. This gives me a larger variety of mark-making options.
I do consider the modern element of the “painters space” when working my images. Stark angles, jarring horizon lines, odd subject placements and unusual scales all help to reinforce the notion that the entire surface of the painting is more important than any particular area or object. In this view the surface is a type of subject or figure, and within the paintings’ borders, nothing is construed as background. Everything always “structures” as figure.
Preparatory drawings and collage techniques help me to take advantage of extremes in scale, direction and placement, the forgiving quality of oil allows for much corrections and refining. For me, oil mediums provide the deepest tones, most brilliant hues and most tactile textures.
I try to make images that regard the “painter’s space”, that do not distinguish between figures and backgrounds, and that respect the entire surface. The creation of realistic subject matter is greatly enhanced by applying abstraction.
http://robertlait.com
Facebook Page
Featured - Art Quench Magazine
I typically work on three to six canvases at once, each surface gets covered in succession and the schedule is determined by drying times. I put on many layers of paint, with different medium recipes throughout the process. I use palette knives to apply paint directly to the canvas. This gives me a larger variety of mark-making options.
I do consider the modern element of the “painters space” when working my images. Stark angles, jarring horizon lines, odd subject placements and unusual scales all help to reinforce the notion that the entire surface of the painting is more important than any particular area or object. In this view the surface is a type of subject or figure, and within the paintings’ borders, nothing is construed as background. Everything always “structures” as figure.
Preparatory drawings and collage techniques help me to take advantage of extremes in scale, direction and placement, the forgiving quality of oil allows for much corrections and refining. For me, oil mediums provide the deepest tones, most brilliant hues and most tactile textures.
I try to make images that regard the “painter’s space”, that do not distinguish between figures and backgrounds, and that respect the entire surface. The creation of realistic subject matter is greatly enhanced by applying abstraction.
