I've had quite a surge of inspiration/impetus to paint lately, but of course, the nature of such things is that they ebb and flow, wax and wane. And now it has waned a bit (in part because I have new painting ideas, but must gesso more muslin to get started... puts the brakes on a bit).
Tonight, to fill the void of inspiration, and the time between coats of gesso, I've gone back to working on the second Hemlock Semiconductor commissioned painting. I feel like it's going in a really nice direction, one that I didn't have much trouble picking back up on even though it's been a little bit since I've touched it. Plus, I have to say I welcome the technical challenge of this one in particular. The transparency, slight waxiness, and internal structure of the quartz still has me baffled -- I'm currently just glazing layers of semi-transparent color and hoping that something strikes me. And the polysilicon ingots, though much more of a predictable geometric and solid shape, still make me think hard due to their changing angles and the sheen of their surface. I've always had a hard time with surfaces and sheens in paintings; all of my textures come out the same. But I'll be very surprised if I haven't improved that particular skill by the time this one's finished.
Blocking in the silhouettes of the furthest-back ingots, I got a memory flash of Charles Demuth's "My Egypt," which I once wrote a paper on for Art History class. Something about the current flatness and linearity of the ingots, and their shape, similar to grain silos, and the general verticality, I suppose. Clearly not very similar paintings, but the connection made me smile.Charles Demuth: "My Egypt," 1927, oil on composition board, 35 3/4 x 30 inches