My earliest works were 12x12" panels - consistent, crisp, a manageable size for trying new techniques. Pouring, for instance, to get an ultra-smooth surface (see Tomato & Blue). Or accretion over a large area (see Stonehenge/Blue). I edged up to 16x16", which was significantly more challenging in gaining consistency across the surface. But it was a good step (see Soul Imprint I). When I hit 24x24" I felt I was making BIG ART. I found that smaller compositions didn't just scale up (see Ocean... v. Circumnavigate). An area of slick, unmarked surface might work in a small piece but just look wrong when scaled up 4x. So it was a great learning experience and I felt like 'wow. I'm doing it.' (continue below)
So. A conversation with a gallery. Their clientele buys very large art. Minimum 48", often 72". I went to the website and admired....simply admired the gorgeous work shown there.
And of course, I went bigger. First, a 36x40" panel (November Rain.) Then a diptych of 24x36" panels (Marching Orders). And now I'm working on a humongous 48x48" piece. All I can say is, this is a whole new ball of wax. Composition is challenging when you can only see a piece accurately from across the room, or standing on a chair. Attaining smooth areas in scale is immeasurably more difficult than on a small piece. For example, it's easy to pour wax onto a 12x12" for a glassy surface. 48x48"? Not so much. First you have to find a pot that will hold that much wax.
I will be posting pictures as I move forward with this large piece, sharing insights and challenges. It was a great challenge to take on because I'm learning so much. That, of course, means error after error.