Oil on canvas, 18" x 24", 2010, $2,500.00.
This is the first painting I worked on en plein aire with Marc Morin. We ran into each other at the reception for
Tom Grady: Domestic Bliss
and:
Sean Farrell: The Influence of Italy
October 14- November 12.
At The Copley Society on Newbury Street in Boston.
We got to talking about painting and decided to meet on Memorial Drive the next morning @ 8:00 am.
I was a bit late for the meeting but we set up and hammered out some nice oil studies.
During production I was taken aback by the stark differences in Marc's and my own approach to portraying the same subject.
I remarked that his rendition of The Charles River looked like the viewer had been gifted with the ability to detect visually all of the oil that was presently hidden within the velveteen folds of water before them.
There was a brutal, almost apocalyptic quality to it.
Later he brought the same piece up to my studio after he had finished it at his place and again, I was bowled over by the distinct brooding sense of loneliness he had expressed in his, especially with reference to the empty, black silhouette of a park bench so conspicuously placed in the foreground.
It reminded me also of the importance Marc had placed on the park bench when choosing his subject, therefore the strategies that had gone into the making of this piece for him.
I laughed a bit at how differently I had engineered my image. I feel like I like to just marvel at how amazing something looks and then let that be interpreted through me somehow. I often joke that,
"I just let Boston paint the picture for me". But Marc appears to have very specific goals for the outcome of his piece. http://seanboycestudios.com
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