I painted "Circles" for Salt City Artists' League. The League's mission is to bring the arts together and to develop and provide more venues for artists. The League has sponsored an arts festival during the first three week-ends in August at Library Square in downtown Salt Lake City. Plywood sheets painted white, size 48x48, were provided. The League provided some latex paints.

I painted the substrate an acrylic green and began spray painting circles.

I continued to add more circles

Once I had enough circles, I then added lines.

More lines.

Artist with the finished painting.

Finished at last.

Evolution of a Painting

Desiderata, 50x40x1.5 inches, Mixed Media

After first stretching the canvas, I painted it black. I then created quadrangles in the upper left and lower right corners - the one in the lower right is still somewhat visible.

In the upper left quadrangle I painted a round white circle to represent the face of an unnamed person. I then painted the five red squares on the right (I like geometric shapes).

All of this was being accomplished in Studio Window, an annex to Art at the Main Gallery in Salt Lake City, Utah. I was spontaneously adding white and blue acrylic paint to the canvas when a young lady entered to watch this process. The public is able to watch and interact with artists in Studio Window. Unfortunately, I did not get her name so I will call her Tatted Girl. Tatted Girl suggested the face in the quadrangle in the upper left should fade away down through the canvas, and further suggested to entitle the painting "Fade." I noticed that she had several lines from the poem, "Desiderata" tattooed on her right forearm; I therefore, suggested that I might title it "Desiderata" in her honor. She stated that those lines on her arm helped keep her balanced.

Later that day, I took the painting home to finish it there. I did some internet research on the poem and not only decided to call the painting "Desiderata," but also to place the title in the painting. Since I am not proficient in free-hand lettering, I used a stencil.

I then painted one of the squares a solid red to add more interest - I chose the fourth square down to draw the viewer's attention in that direction. I then added three handprints - one at the top which I subsequently painted out, a blue one to represent Tatted Girl reaching for her desiderata, and a white one grasping the side of the canvas to represent Tatted Girl hanging on to former values. I painted over the white face to represent Tatted Girl.

I love lines and added lines over lines over lines, seven inches in length. These lines are in an early layer of the painting and not all visible in the finished painting. Viewers may have to get close to see them. At some point I added the outline of the Gothic cathedral. The white area above cathedral appeared in an early layer of the painting and I chose to preserve it.

I returned to Tatted Girl's face in the upper left quadrangle as it didn't appear to be a part of the painting. I placed a mask on her face, but it didn't tone it down enough, so I applied red tissue paper over the face. She still peaked through, so I added red and blue paint over the tissue paper.

I then added thick paint with a palette knife to random areas. I repainted the red square to create a more impasto effect.

After each of these steps, I added more and more lines and more and more layers of paint. At some point during the process, I learned of a New York City artist who mixes acrylic paints with water and future acrylic shine floor wax. I adopted this technique and used it throughout the painting. My next to the last step was the addition of more lines of various thicknesses and lengths. I should also mention that in some areas before the paint dried, I sprayed it with water to create the drip effect all the way down the canvas, especially under Tatted Girl's face thereby creating the fading effect of her face.

My final step was to place the metal cross atop the Gothic cathedral.

I hope you enjoy this explanation and appreciate my process and "Desiderata."

What Was I Thinking?

A lifelong friend (we went to kindergarten together) recently asked what I think when I am creating abstract paintings. I hastily answered, but now believe I need to elaborate further. There is no easy answer. Not only do everyday activites affect the outcome of my art, but changing emotions also affect it. With affectations or distractions, I usually start with an idea - I am often awakened around 3:30 or 4:00 am with ideas creeping into my consciousness. When this occurs, it is impossible to return to sleep. I often develop these ideas further as I shower and as I become more alert often receive new information.

After breakfast (I cannot work without eating), I develop my idea into a plan which may or may not include a sketch. From the sketch, I can then begin painting/creating. At this stage, I paint to jazz (without the jazz music, I feel empty). Prior to actually painting, I think about the technique and the medium which I will use, for example, brushes, size of brushes, palette knives, chopsticks, items pressed into wet paint that leave a textural impression; use of oils or acrylics, house paint, antiquing glaze, gesso, gold leaf, and pigment colors.

When actually painting/creating, I am thinking about the plan and about color, texture and form. I like bright colors but also love black and white paintings; texture that causes the viewer to linger; and form to suggest organic shapes. And of course, I am thinking about the outcome. Most of the time, I hate the piece I am working on but keeping working until I like it. I am always asking myself if a piece is finished - usually if I hate it, that means it is not. Once I like it, however, then I can decide if it is finished or not. I have to feel good about it. If I don't, I keep working until I do or I discard it or destroy it.

Finally, I then decide if I need to frame the piece. If so, I consistently take it to the same framer who is also an abstract artist and usually gives me good recommendations for picture molding. Lately, however, I have been painting on gallery stretched canvas (canvas stretched over a 1 1/2 inch stretcher) - these are normally not framed but I paint the canvas sides black or paint them to match the painting.

At long last, they are ready to hang and hopefully sell. I do have difficulty parting with some though. A friend of mine suggested I keep my favorite ones until I paint one I like even more; and so, my work evolves and keeps growing.

Eye Candy

Eye candy? What's that? The Wikipedia definition of "eye candy" is attractiveness. Eye candy then could include anyone or anybody who is attractive. How does eye candy relate to art?

First, let me explain that there are some collectors who scorn, sneer, ridicule, criticize and perhaps who do not even view a work of art unless it makes a social or political statement. To them, I say "Bah Humbug." They are missing so much. Art is meant to be attractive. It is meant to be hung and admired and enjoyed over and over.

When I first heard the term "eye candy," as an artist I felt belittled. My reaction has since changed and to those who originally intimidated me, I now say "SCREW YOU!" I am proud of my eye candy. I am an neo-abstract expressionist. I use color, texture, and form to create a painting that appeals to me - that excites me and appeals to my own emotions - and I hope appeals to the viewer. Most of my paintings could categorically be labeled "eye candy." So what? As a viewer returns to one of my paintings, I want them to appreciate it anew each time and see something different each time. If I can create a work of art that brings the viewer back again and again, then I have succeeded as an artist.

Artist's Reception, Sorpresa

The greatest compliment an artist may ever receive is to be collected by another artist.  Last evening, at the reception for the opening of my show "Sorpresa," another artist made a purchase of one of my pieces.  A second piece sold to the father of an artist.  To top it off, another artist wishes to make a trade.  Wow!  What a blessing.

The reception was eventful.  "The Precinct" provided excellent music.  My wife provided excellent refreshments, and viewers were excited about my work.  What more could I ask for?

With the exception of purchasing a large canvas (it was 40% off at Utrecht), I spent the day in relaxation.  That canvas is calling to me however.  It's preparing me for continued painting next week.  

Finally, you can check out my new work at my website www.JerryHardestyFineArt.com under 'Current Works'.  Happy viewing.

My Upcoming Show Featured in Sunday Paper

My upcoming show, "Sorpresa," was featured in this morning's issue of the Salt Lake Tribune under the Visual Arts Notes.  See Abstract passion - even with pictures.  See attached URL:

http://www.sltrib.com/features/ci_13516884.

Sorpresa!

I am preparing for my featured artist show at Art at the Main in Salt Lake City.  I'm hanging the show on Sunday, October 11 after which I will be posting a number of new paintings on my website and also on Facebook.  In the meantime, I'm painting every day; at one time, I had started eight new paintings (part of those are now complete).

I am especially excited about my show that I have entitled "Sorpresa" (Spanish or Italian for surprise).  I'm hoping that viewers will find a surprise in each painting, whether it is the painting as a whole, the title, the material used to create it, the subject matter, the technique - you get the idea.  I'm combining music, poetry, language, collage items, and of course paint to create these surprises.

"Sorpresa" will run from October 12 through November 14 with a reception during Gallery Stroll from 6 to 9 pm on October 16.  Music; will be provided by "The Precinct."  Refreshments by my wife, Pam.  If you're in the area, please come and enjoy.  If not, pass this on to those who might be.  "Sorpresa" is at Art at the Main, 210 East 400 South (ground floor of the SLC Main Library), Salt Lake City, Utah.

See you there.