Making it up

‘Cut and Dyed’. Oil on panel, 11″ x 13″

This study was a really interesting one for me to work on, presenting a number of challenges along the way.

Firstly, I was using another of the very smooth gessoed panels that I recently bought from Zecchi. I’m not used to working on a support with no tooth whatsoever, and found the slip of the paint on this really disconcerting at first. Once a thin layer of paint was down things got easier, although I then wasn’t prepared for the inconsistent absorbency of the panels. This created a lot of sinkage and left quite a matt, powdery finish that was incredibly delicate – easily lifting with fresh brushstrokes on top. I think these panels are probably suited to a thicker Alla Prima technique where a richer medium is employed almost from the start. While I don’t naturally paint in that way, it’s a technique I aspire to and using these panels made me push myself towards achieving that.

Secondly, I opted for a neutral backdrop that was tonally similar to the hair and face. This made it difficult at times to find the contour and define the space around the figure. I personally like the airiness and mix of hues that this choice brought out, although some punchy definition and edges are lacking. Melissa, the model, is also so pale she’s almost silvery. I made the mistake of seeing this and working in too high a key, leaving me nowhere to go for highlights. I think her ethereal presence could have been captured more effectively if I’d kept the flesh really cool in temperature, but tonally taken it down a notch.

Finally, we had a limited number of sittings and I hadn’t finished by the end of the last one. I wanted to keep working on the painting, so took the decision to paint from memory and stick with an ‘idea’ of the model and not worry about the likeness so much. In particular, Melissa has a really unusual pout that’s completely characteristic to her, but incredibly difficult to capture. I know things aren’t far away in my painting, but the tiniest of angles makes such a difference and I know I haven’t captured her as she is. When I am working in the studio and I see the painting out of the corner of my eye, I see Melissa, when I look at it directly I don’t. Still, it’s a study and I prioritised experiments with colour and technique instead.

I have titled the painting ‘Cut and Dyed’ as when I first met Melissa she had really long hair. The next time we met, a year later, she had cut her hair really short, and the next time dyed it a kind of platinum grey. Anyone out there with long hair will know what a decision that must have been to cut it all off – and she didn’t go for half measures. She looks great, and I’m envious of how liberating that must have felt. Could I do it myself? No, I simply don’t have the cheekbones to carry it off with élan, dahling.