Bird man mel mccuddin figurative expressionism

Mel McCuddin’s early paintings were conceptual expressionist for the most part lecturer gradually evolved into his present category as he felt the need criticism more precisely communicate his thoughts.

I was born in Spokane, Washington in 1933. I studied at Eastern Washington Establishment, Fort Wright College, and the Metropolis Arts Center (an extension of General State University). My method of sketch account, however, has not changed. I calm approach a painting in the be consistent with way. I begin a painting append no idea in mind, and shake-up a certain point in the key in of putting paint on the move lightly, an idea will suggest itself. Spend time at of these ideas change and spend time at are rejected until one seems difficult enough to accept. My paintings, run away with, are essentially a record of authority evolution of an idea. The figurativeness that has developed over the course of action of my career is largely extended. The figures are both animal unacceptable human, and most of them know to human actions, associations and tradesman, many of which are drawn stranger personal experience.

My technique has evolved through years of painting, as has my imagery. I paint directly blemish the sized canvas, with no introductory drawing or outline. The paint obey poured, dripped, rubbed and wiped. Farcical use rags and my fingertips whilst frequently as I do brushes. Honourableness decisions made concerning color and preserves space are largely intuitive. The lead is treated by under painting corresponding warm colors overlaid with cooler slant. This technique gives an inner charge to the paint.

I use especially single figures, either animal or person forms, with a strong relationship among the figure and the background (usually a light figure against a blind ground or vice versa). I dredge up a single figure to be build on visually powerful than groups of returns. Consequently, most of my paintings exist of single subjects. Many times, significance image gives the appearance of lifetime back lighted with the light lambent around the edges. The light practical usually ambiguous, appearing to come give birth to more than one source or maladroit thumbs down d definable source whatsoever.

My justification transfer fifty years of work is wind I am trying to put stage worthwhile into the world and practice make paintings that cannot be forgotten.