My New Studio Table for Still Life: the Diebenkorn / Ocean Park Look
My freshly painted white, textured studio table. I’ll use it to set still lifes on.
While working on the surface (to give it some interesting character that I’ll include while I’m painting whatever’s on it) I noticed it was looking a lot like an outtake from Richard Diebenkorn‘s Ocean Park Series.
So…why allow (or more precisely: include) random marks on the Still Life Substrate? Here’s why:
In my observational paintings, I’ve always included nominally subtle elements–like drywall seams, paint inconsistencies, etc–when appropriate. Not only are those elements compositionally interesting, but they’re often an integral part of what I’m looking at; my amputation of them would mean altering the scene in such a way as to make the translational process (of perceiving, processing, and painting) suffer.
Having these marks on the tabletop will provide some hard-wired Interesting Possibilities when setting up…beyond a cloth, or what have you. (Plus, the way I did it provides varying “neighborhoods of complexity”, so I have my Options.)