Here are a few ideas that came to mind:
“Twilight in the Studio”
“Afternoon in the Studio”
“Too Little Too Late”
“A Matter of Size”
Some of these are nice. Afternoon makes me think of ‘Noon’, a simple time, but with further resonance. I like the simplicity and coolness of that.
Of course, looking out the window there it looks as if the sun is much lower. Probably late afternoon.
A brilliant painting as ever Scott. The thing with titles is that as soon as people start giving you suggestions you at least start to find out what you want by seeing what you don’t! Perhaps ‘This Painting Has No Title’ (to paraphrase Elton John) would be suitable until something really good came along. Sometimes the painting speaks so loudly that to title it is to gild the lily.
I’ve been looking at the photo of the work in progress and of the grisaille and of course this is your way of production, very much like Marc’s with the painting very carefully planned and worked out beforehand. Please don’t see this as a criticism but don’t you ever feel like doing something really unplanned and loose in its technique? We develop ways of production which work for us, which we really do enjoy, but sometimes I wonder how much of what we do is something we REALLY want to do and how much we do something because (we think) it is expected from our audience. Don’t get me wrong; I’m sure you do what you do because it is necessary to do it like that, you enjoy it and it works.
This is, as is the norm with your comments, very insightful. I am trying to do some different things right now, inspired somewhat by my students struggles through different means of painting, and, to a larger extent, by the odd ‘lived’ perspective that I see in my iphone panorama shots. I was hooked by this technology with the first shot. It reminded me of some works I did in the early 80s, then abandoned. These screwed perspectives are actually closer to the way we really ‘see’. As the head and eyes move, perspective shifts and tilts. It has given me a bunch of ideas for painting. Though the first that I’m working on is not giving me what I want in terms of the paint (I want to screw that up more, too), I am getting what I want in terms of the depicted space.
In the past I would ‘escape myself’, as I call it, by doing things like sculpture, or my Paternal Suit project (http://halsey.cofc.edu/exhibitions/f.-scott-hess/). I always return to straight painting refreshed. After the last couple of pieces of complex compositions of figures in a believable space, I found myself wanting, to quote my favorite Talking Heads album, to Stop Making Sense. Having spent most of my time in painting making rational space and figure placement, and rational paint handling, I sort of want to fuck it up. We’ll see how it works out. In the past I’ve set out to change things, and in the end it is another F Scott Hess painting.
Most titles come to me very easily, during the painting. A few words will tumble their way into a phrase, I’ll ruminate, shift it around. By the end of the piece it is there. Every once in a while something comes along, like this one, that I have no title by the end. It is a piece with obvious drama, so I feel the title has to do less rather than more.
Just to chime in, I think about it too, and sometimes the scale changing is enough to show a need for change, but generally I’m a distiller. I do keep sketchbooks where I’ll allow myself to do anything, both seem necessary to me. A framework that allows me to make decisions and enough of an open end that I can breathe.
I guess I just give off an evil vibe! It makes me think of “Live Evil”, which is itself reversed.
It is a tight rope walk over the moat of money mandibles isn’t it! Sometimes selling a piece to a collector feels horrible knowing that it’s just a condiment for their home. Other times- it’s an honor. I just have to kiss the piece good by and hope it sails…
Gravitas certainly. But as an obscure referent I was somehow reminded of Delvaux’s 1939 “The Phases of the Moon” which I first saw when I visited MOMA by myself when I was 13 and has stayed with me. Conjured up by the female figures and the artist as a voyeur viewing (and inescapably PULLED TOWARDS) the four female figures:in a portrait at the top of the stairs, descending the steps, reacting to the artist’s struggle and, finally placed upon the canvas. But even more strongly the title I proposed comes from my associations to the men’s faces [your father] placed on the canvas BEHIND the struggle. Yes, he is BEHIND the struggle. And the tides, the pull of gravity, “Gravity’s Rainbow,” the force behind the phases of the moon, represents the inescapable internal struggle that any sentient artist must face.
“The Lord(s) of the painting”
Or -according to the great booktitle of a german philosopher:
“Who am I – and if so, how many?”
But I really like “Studio Drama”. How (and when) do you find the names of your paintings usually?