Working large is a whole new challenge

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.