Marion Raney Oman
Who knows where it all comes from?
I work best in the earlier part of the day when my energy is high and my mind fresh and uncluttered. I go directly to my studio after breakfast and reading the Oregonian over a cup of coffee. If I am stymied I begin by looking at sketchbooks, cleaning up the studio or doing menial chores like building stretcher bars, gessoing, sanding... The mere act of puttering often brings ideas/images to the surface. I go into the studio no matter how hard it is, how uninspired I feel...in hopes it will be fruitful.
I generally work on several series simultaneously to keep the imagery fresh and to satisfy my wide field of interest. I may have as many as 15 pieces going at once, not expecting that all of them will make the grade. I find that paintings aren't as "dear" if there are many and I can give questionable work the ax earlier if it isn't the only piece I have. I am more likely to experiment and take a chance if there are other pieces to console me if the exploration doesn't pan out.
After a certain point I work intuitively, not anticipating the outcome. I study the piece from twenty feet away and close up to see the weaknesses and the possibilities. If I get stuck on a piece I move on to another for a day or months, until I suspect how to proceed or realize I have lost interest or the piece is a dead-end.
I am a voracious reader. If I run across a word or phrase that captures my imagination I jot it down for generating images or titles. I enjoy linking words and images.
I prefer painting in oils to doing anything else. I like the feel of the paint and the personal and extended relationship I have with a piece of work. In a way a painting is like pages from a diary...I can recall episodes from my life as I was working on that specific painting. I also get satisfaction from knowing I can sand down a painting and paint a new one over the top.
My method in painting is usually to begin with a rough image or combination of images. I draw a simple plan in charcoal on the canvas. Then I try to establish the value patterns early on in muted colors. From there it is all trial and error. Some paintings happen very quickly and others are years in the making and experience many states.
Sometimes I paint on stretched canvas, other times I tack canvas to the wall and gesso it there. Then the entire painting is done on the wall. After it is "done" I attach it to a stretcher that I build especially for that piece, stapling it on and letting the wood show around the edges. I will then paint the wood edge to become part of the painting. I like how visible the process is and the fact it is interesting and not "slick". Usually I have a variety of canvas sizes in the studio. I like to be ready if any idea comes to me and it dictates a specific dimension. I hope the wide range helps keep me from getting too static...
Every day is a new day in the studio.
Marion Raney Oman's Work at RiverSea Gallery
Click on the following thumbnails to see bigger pictures.
Past Exhibits at RiverSea Gallery
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