Hi, your opinion abouth the choice of oil or acrylic for abtsratc painting, or the both.

I receive all the ideas, even if I have mine.

Open

Thank's a lot

Herco

hello Herco ....Oils are fantastic for overlays and reflecting light because the pigment is suspended in oil. My only set back with this is the use of trupentine...plays havoc with already stressed lungs. Also takes longer to dry...But for me is still the most juicy and expressive to work with.

There is also the water soluble oil paints...have not tried those. Would be interested if anyone else has and what they are like.

Oils on top of acrylic...as long as acrylic is good quality....But any thing goes with abstract.

Hi Adrian

Thank's for your comment.

I also prefer to work with oil, but as you say it is sometimes to long to dry. Even if an artit is not is not taken by time , it may be a problem. But the other reason is important for me is toxicity of some oil, made in china or anything else. My studio is too small for bretahing this strong smell.

I want to try soon water soluble oil paints. I will tell you the result.

Take care and if you have time, look for my last

Friendly

Herco

I prefer acrylic but why do abstract images have to be made with paint?

As far as I'm concerned, Philippe, I dont think abstract is bound by paint...It's just a preferred medium until the next one comes up....(for me that is) Perhaps using paint for abstract images is traditional in the sence that the pioneers recorded in history, used paint. So one might strat with that if one is traditional....otherwise it's an open field.

..Acrilic 4 ; expressionism; and &ABSTRACTion;  O i L;  4 impressionism;  and Modernism..

I u s e d o i l p a i n t;    for  years..    then I w a s to  USE;    ACRiLic;     b e c a u s e;  my  ART DEALER;    t o l d  m e  to  do  so.. (i f I am a ABSTRACter..acrilic i s the P a in t.. 4 it..)

What I think  ,t o d a y.     Oil i s like rubber..   i t  is   e l a s t i c,  viscous, & resists to a " QUiCK "   -fast- , -frequent-   A C T ing  -  i o n  s-..  o f  ,the  ARTist'  s..   W  h  e  n;  spontaneous;   & automatic  ;  f e a r less   & c a r e less   ,  a  c  t   has  to  b e  M A D E;  F O R   " TRUE "  A B S T R A C T i o ns..,  Y  O  U    M u s t  ,  b e  able to  a c t  F A S T;  with  t h e  SPATULA.. micro seconds a r e important,  to pass o v e r;  ABSOLUTE;  V O L U M E;  and  touch & bring  a  T h i n g ,  f r o m   there i n to U' r  ;  W O R K..(still U need t i m e 4 it  to  OCCUR; originally,  i n U' r canvas ,   t  o  o.   not only; take it from ABSOLUTE; put it in the paint; t h e n in the paint; i t  shows; i t s e l f,, a s  a M A D E;  T h i n g..)

I call; a c r i l i c   a s  a  " B i r d  shit.. "  because i t is w a t e r based,  i t  has  t o  b e ;  immediately,, b y  a   SPATULA;  t o  C L E N;  i t..   of course,  t h e r e     r e m a i n s;   a   TRACE;   a  n d  this  THiNG;  i  s,  "  ABSOLUTE;  B  E  i n g;   "      ,a f t e r    ; ABSTRACT i n g..or abstuction..because abstuction  h a s  the  a c t;  o f,     e  r  a  s  e    i  n  g;           -just l i k e  sport acts  e r a s e; U s  a L i t t l e.  b u t  gives U S  a  SPEED...-    the  e a r t h l y  L i v i n g  things..)

.... b u t,  w h e n  USED; ACRiLiC  COLOR;  U' r   S O U L;     has     b e e n  transported,  t o  " the OTHER S i D E "  and İ t wont come  back;  i t is Lo s t  i n  there..because U threw  U' r  self; fast and fearlessly;  4 the  miror image o f  U' s  to;  b e  PRESENT;  o n  U ' r  WORK;  i  n   REVERSE..

... b u  t;  i f  I  paint,  w i t h,  OiL COLOR;  i  t;  h o l d s  m e  ;   Warm;  &  TANDERLy;  (oil i s a rubber to hold U tight)  as  H E A V E N;  would..or  c o  u l d..     I  can  L i v e  with;  A N G E L s  ,  t  o o;  when I  paint;  with  O i L   COLOR..

eXample;This is a    f a s t;      a c r i l i c;     Expression; and Abstraction..i t does no t need  t o b e ;  L i v e; -or a living thing o n  e a r t h-  because i t  is  a  reverse  " miror i m a g e  "  from  " the OTHER S i d e "  (SPATULA' s bright  M E T A L;  i s  A  M i r o r )  -that is under Atomic side,    with Absolute volume..-    THiS  i s  N O T;  M E; -myself-  I have b e e n a  Musician;-a pianist-,  t h e r e as an abstracted,expression..

H e r e I am   still    m  e;  t h e P a i n t e r..  impression  o f  m e ; in  H E A V E N L Y;  elastic  PAiNT;  M e d i u m..

  W H E N  I  ;  DRiVE,   t h  e   S A M E;  SPATULA; o n; the,  canvas...

water based; Oil Color,  i s  in  b e t w e e n..  (My  l a s t 3 years choice..)

..and  t h e n  O n c e again; a c r i li  c..

..... t h i s   is  m y;  closest  f r i e n d;       eXpressed & Abstracted..    ( b u t  not    m e;..)

..then, once again  OiL Color..

W H E N; i t  is     OiL COlor,       I h a v e  time  to,       g e t    a n  "  impressiON "  a b o u t  m e  too;  ;  ;  t o o;      -elastic oil    ; h o l d s  me  4 a time  b e ing..-         - than I have    t i m e  to;  install   m e   a s  a n  impressiO N-..         in the  paint..

p.s. Oil Color solvent;  i s poison..it melts the c el l;  m e m b r a n e  s.(that means brain cells  d i e..)  SO;  there must b e USED;  GAS-M A S K.. l i k e i n  the w a r.

Hi man

thank's a lot for your response.

Great work very professionnal.

I like galleries 1 2 3 on your website, I like movment and your choice and association of colours.

I often work with spatula and as you say, it must be very fast and powerful. But above all controlled. When I am painting with acrylci ort oil, it like a Knife fighting for me, veryprecise an without flourish. When you are lokkin for Jackson Pollock working (even He didn't work with the idea to move with knives I think, but I am not so sure!!), you can find this way of work. But be modets, we will never be Pollock, there is only  one. But we have to try at our level to perpetuate Action Painting.

I know that some persons will be opposed to this idea.

It doesn't matter, we are in full art.

Friendly  

Herco

...a  SPATULA;  S T R O K E;     i  s  to  open a    " w i n d o w "    to  the  P A i N T;     to s e e ;       W h a T    " B  E  i n G; "      i s  i n ;     T  h  e  r  e..

Hi , Herco, one additional thing,,     -i f U      w r i t e,  just like a writer every  d a y;-       then there comes  ,b e i n g s     into U' r  Paintings  t o o;      ;   t h e y  appear     inbetween; U' r  spatula   s t r o k e s.. (I am telling this becouse I saw; some o f  them, i n U ' r works on U' r  profile..)   S  O;  t h e s e    " b e ings"       a r e   v a l u a b l e;   -and painting should  b e  full o f  them,-    ,my goal i s this,   I  t h i n k.. 

(When  " U ";   w r i t e,    they will b e     put into;    w r i t i n g,,(letters)      t h e n  they will try  to;      b  e    f r e e;     i n the   painting,    &s t r o k e s..will  LOOK FOR  them i n the  p a i n t..   untouched transformation, o f  these  b  e  i n g s;   from the writing.   to the  paintnig..t h a t  is ,    what I  intend  to DO..  )

..Pollocks  a c t i o n  painting;  w a s  just like ;  expressing   every  THiN G; i n   to    the  " A T O M i c   O r b i t a l s "   of  the   MATTER  MASS.....  (I originally   s a w them in    MOMA..)but there  w e r e     -nearly-    ;   NO  B E i n g s;    i  n  them....  W  e  can  U s e ;  ACTion;  o f  Spatula STROKEs;  b u t  fill these  a c t i o n s;  w i t h  beings  o f    -o r   from-     ANGELs..  (very  p u r e;  when they w a l k  in paint;  by a SPATULA;  a c t i o n;  and      & f r o m     a "  WRiTiNG  B A S E.."(a written  writing..)

..of course control i s ; b a s i c.. but; this control  must       i n c l u d e,;       ( -b e i n g s  OCCURing;    i  n,  the  paint   must b e  controled..- )           b  e  i  n  g  s;    to b e     p u t   i n    the    Paint  ;     -or  come o u t  of  t h e  paint.-.  while stroke ing  ...       I think.

p.s.

J.Pollocs,  dripping circles; w e r e  orbitals;to ATOMs   ;    and addition to that; they w e r e; c a r r y i n g;  f i g u r e s ;     f r o m  E Y E;  to    ABSOLUTE  E A R..( this w a s to b e  name d   a s ;  A b s t r a c t i o n,  t h e n..)(carrying painting from Europa t o U.S.A.)  b e c a u s e;  E y e see with straight l i g h t s  &;  E A R; can h e a r  with  only;    with        " SOUND   ; i  n   C i r c l e s  "..

Friendly

Murat

I gave up on Expressionist painting years ago when I saw some fellow throwing buckets of paint into the  'JET WASH' of an airliner onto a huge canvas. Now what? I am experiencing your work Murat, for example on this screen, the image is only a couple of inches wide. Paint is sensual, yes, the painting is spatial and the trick is to find the balance between the two. Nice work.

Thank U Philippe.  I think, problem is to fill, i n everything, i n to  the  brain  -a s    d e e d s-;    t h e n;  Spatula;   is to open,  the paint to see what has been p u t  ; into that PAiNT..(Paint itself; is our brain,    and w e shall c u t    it  a s   -  a  M a r b l e-  ;-with a spatula-   t o  be able to s e e; " thin b e ing,"  , h i d d e n , in  t h e r e..l i k e  a sculpturer..Does.w i t h  fast moves that can reach ;  to the ABSOLUTE;  SPACE.   .t o  take them from,    & then  , p u t  into   the canvas..  or paper)  ..I t h i n k.