I’ve been painting a lot on canvas and noticed that some of the most interesting parts occur on the edges, where I’m working with less control. Taking my hand out of the process and letting the materials be themselves brings in a sense of play and is so refreshing.
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Hi! I’m
Nicholas Wilton
the founder of Art2Life.
With over 20 years experience as a working artist and educator, I’ve developed a systematic approach that brings authenticity, spontaneity and joy back into the creative process.
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Do you always work on cut canvas and stretch it when you’re done? Do you keep an extra edge so you can include it in the final painting? What do you suggest if you work on canvas that is already mounted ? (I love your work Nick)
So, could you work on floating shapes within the canvas leaving spaces in between that then get the same unintended marks, drips ,notations, test colour dabs, etc. as you now have on the outer edges? That way those outer edges are inner edges, becoming more integral to the painting. Susan Collacott Dec, 2017 Mexico group
Hey susan why not just try it – there are no rules and you loose nothing by giving it a go!!
Wow! What excellent insight!!! Thank you!!!
Man, I love this idea to the hilt, Nicholas. I have remembered your video about going “off” the edges etc. It really stuck with me…I thought that this was the same. More good stuff here! I always prefer my paintings that are on paper, that get matted or framed, for just these reasons. And I am intrigued by other artist’s raw work when I see peeks of the history underneath, as well. I am excited to do this very thing now. This brings on new IDEAS! THANK YOU 😉
Two thoughts. One is I’m really coming to appreciate your constant use of “differences” or contrasts that set up a dialogue of opposites. In this case the contrast of the thickly worked centre with the barely touched edges. Just having a tool for becoming conscious of elemental opposites is so thought provoking. Thanks for that.
And the other is about the notion of barely trying, and discovering the beauty in the uncontrolled brush strokes. I feel that when a fully competent painter can relax, let go, and shift to automatic, the most extraordinary gift comes through. It is almost as if the painter serves as a relay station.
Nicholas- I get a lot out of listening to you and watching your videos- thank you so much. You encourage generosity, sharing and seeing ourselves as part of the community of creators instead of “every man for himself” that we experience too often. I would love it if the person filming you would hold the camera steadier- I can’t focus on the specific elements of your work or your face, and it’s hard to watch this way. I suggest a wider view more often, then close-ups where you are pointing things out…just my opinion.
I know, all the unnecessary movement is very distracting. Put the camera on a tripod, no movement needed. Does nothing to help the videos.
I always paint on board. And this is one of the main reasons why. The edges. What goes on at the very edge of the board is integral to the entire piece. So what happens when a canvas is stretched? Does that good stuff disappear around a corner?
I was working on raw canvas that was too long for the wall, so I let the remaining foot or so of the canvas drape on the floor and i painted part of that canvas very quickly. But then I left it alone and WOW,,,, I got some beautiful drips and unintentional marks that will now be a part of the painting.