Before starting a new painting, I always feel thrilled, emotionally engaged by the new theme, charged with feelings and curiosity for the new painting. Usually, I have some ideas, but the overall image is vague. At the beginning, I tried to help myself with preliminary sketches, but later I found them to be of no use to me. They consumed my starting energy, got me inpatient, bored, tired, and even diminished my enthusiasm to paint. The best solution for me is to incite myself to preserve at high level my starting desire and put that energy promptly to work, to solve the most difficult part of my painting – the composition.
Applying art lessons, from when I was in China, works best for me. I still hear my teacher saying: ” Inspire deeply, keep the air sealed insight your body, and control its release with each powerful brush stroke”. Following my teacher advice, my new acrylic painting can be defined early, after a few important, strong, brush strokes. What follows afterwards, develops more naturally, at a lower pace, completing the powerful, beginning. Rothko called the defining strokes in a painting actors in a drama, and Bacon, after a wild start, in search for balance, made an “armature” to hang the painting on. A painting is done after multiple interventions, each time assessing the result of balancing shapes, refining colors and adding details.