Miss Spiral

I've noticed something. Since I've started painting Spiral I've started seeing things a little differently. I've noticed that I don't feel as isolated. My work for the most part depicts either empty streets, or streets with one or two people (minus the cars... they don't count as people). A lot of my paintings are, then, studies in isolation or the juxtaposition of isolated individuals.
I think you get back what you put out. So here I am depicting these singular elements under darkness. You see what I'm getting at.
Since I started working on her I've had a slightly different outlook. My social calendar is filling up. I'm spending more time involved hands-on with things. I'm wanting to involve people and get involved with them. I find myself sketching again. An act that had become more and more rare in the last few years. I don't know if it's just the change of subject matter. Perhaps I'm opening up more.

I'm shooting from the hip more on this. I don't have any photo-references to make my decisions for me on what goes where. No pre-built skylines or people walking about. I'm having to get more involved and take the work a little more personally. I don't think this is going to be necessarily where my work is going, but I'm definitely going to be spending more time with this part of my personality.
So, she's got me going. I've added and removed arms. Repositioned legs and breasts. Her head's about the only thing that's left intact from the original canvas sketch. I'm hoping to get some help soon with the poses. After that it'll be a little more academic. I'd like to finish her, but I can't do that until I'm satisfied. Perhaps I'll have to put her aside for a while to play catchup on some other work, but honestly I can't really go down to the studio and not work on her.
Preparing to tangle with those arms tonight.
Wish me luck.



Cheers,


R