Saturday, October 1, 2011


“Time is not love’s bedchamber.”—Catullus

These days, whatever I think I know about painting has to be destroyed and rebuilt before I can complete anything.  The process feels simultaneously centrifugal and centripetal. It’s exhausting. It takes time --and then time bends back on itself.

"The Yellow Bed " 1

Version 1  of “The Yellow Bed” was the very rough framework I started with two years ago and left until early August of this year. Version 3 kept something of the original pose, but it also introduced the crucial elements of the window and bed. It had the most convincing and conventional composition, it was easy to read, but it felt slack and the color lacked any real commitment. (Apologies for the poor quality of a few of these images).

Version 3   

Version 4 veered off in several directions. The color was strengthened, but the approach to the figure became confusing. Though the head gained detail and definition, the rest of the figure was invaded by cubist hieroglyphics, which failed to unify the painting structurally or emotionally. Before I got to Version 9, I’d made even more false starts.

Version 4

There can be a point when a painting settles into itself; it isn’t done, but the basic character is set.  After that, whatever might be added or taken away has to be considered within the painting’s own laws of physics. Decisions might not be easier, but choices can be clear. Version 9 was just such a set-point in the process.

Version 9

Here's the final painting, another 36”  x 36” canvas. I see that the palette is changing, and there are other things that I probably couldn’t see even if they were pointed out to me. The room and the perspective are not naturalistic, nor were they intended to be. ( If I'd wanted to go that route, I would have continued along the lines suggested by Version 3). Instead, there's  tension between the flat geometry of  the room and the modeling of the figure. This, I hope, gives the painting its energy.

"The Yellow Bed" (Final Version)

I  still want to go farther with the figure: out into the landscape, and into that narrative realm where more than one figure can find its place.


Eduardo Izquierdo’s Paintings at “Nourish”—Highly Recommended!

This month you have the opportunity to see the fine work of artist Eduardo Izquierdo, whose figure and landscape paintings are now showing at “Nourish,” 130 Walnut Avenue in downtown Santa Cruz. As you can tell from this image, these are paintings of great grace and strength. Do not miss this show!

"Green Wall - Maria" by Eduardo Izquierdo

1 comment:

  1. This Yellow Bed series is interesting to me - perhaps the simplicity of the one figure in the one interior... the window a picture on the wall / into the world outside. So different from the large tarp drawings ... that seem to invite setting up a relationship between the individual figures;
    as " passengers " on the same "bus" ...
    Maybe a personal proclivity to become emotionally involved in what is merely just Form. ( Plato would just concentrate on the Table being a table and be satisfied with Reality)