Modernist Bird, 2006, oil on canvas panel, 9x12" $900

Light theory plays a big role in my art and sometimes I let lose with it and see what happens. The real still-life is lit by a halogen spot, with neither a warn nor cold light. This creates a problem that the more you develop the painting the neutral hue of the light easily dulls the both the light and shadow colors. Its the opposite of the early morning beautiful light of what cinema photographers call the magic hour. One way to get rid of that dull affect is to imbue your light with warm color and chill your shadows with blues. Here I did the opposite I gave the light a coolish blue-violet cast and intensified the shadows with hot scarlet.  You might notice that the it is thickly painted. That is from hundreds of layers of paint grouping to find the right connections. In the past I have experimented with pastel for color studies--here I am enjoying taking it direct to the painting.