In any other situation, the background of sound might be an irritant-but the voices of Big Bill Broonzy, Blind Willie McTell, and Fuzzy Wilson act as lubricant. Smoothing out the edges between those times when the brush is actually on the paper and when the action is stalled (when you just have to sit back and think), these voices help, ranging from dulling the frustration to accenting the high notes at the rare times when things are going right.
I'm beginning to think this painting thing is all about stamina: being able to paint and paint-maybe till your arm falls off-but things are actually improving. Guess this observation is a "duh" moment on my part, but I really never considered the fact that the "practice, practice, practice" idea could come into play here. I suppose this was true for me with three dimensional work, but that just seemed so easy for me-and it was easy there to "practice, practice, practice" as I (almost) always seemed to enjoy the results.
More stuff to give thanks for-where's Ian Drury now?
I'm beginning to think this painting thing is all about stamina: being able to paint and paint-maybe till your arm falls off-but things are actually improving. Guess this observation is a "duh" moment on my part, but I really never considered the fact that the "practice, practice, practice" idea could come into play here. I suppose this was true for me with three dimensional work, but that just seemed so easy for me-and it was easy there to "practice, practice, practice" as I (almost) always seemed to enjoy the results.
More stuff to give thanks for-where's Ian Drury now?
This one is called Driga-it's on a welded stand-as yu can see, it's made offa old log with a lotta help from nature-the hair is strips of cut roofing copper and he only has one ear.
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