Nonlocal Pitmaster, 18x24 inches oil on canvas panel by Kenney Mencher
FREE SHIPPING Shipping takes 3-4 Weeks This ships from Round Lake Beach, Illinois. A suburb outside of Chicago. I use UPS and sometimes US Post.
This painting is based on a time honored pose in which a beautiful athletic figure places their arm up almost creating a halo around their head and exposing their armpit. In a lot of homoerotic And in gay culture in general there is a fetish for armpits. Painting is an attempt to wed together the fetish for armpits along with the traditional muscle pose of showing off the biceps of one's arm.
Lately I've been experimenting with different imagery, materials, techniques and color. I've been looking at a lot of my Bay Area Figurative artist favorites, David Park, Elmer Bischoff, Richard Diebenkorn, and James Weeks, Paul Wonner, Nathan Oliveira, Glenn Wessels, Wayne Thiebaud, Raimonds Staprans, and James Weeks.
I sketch the composition out using crayon and then paint successive layers over them using "non-local colors."
“Local color” refers to an artist choosing to paint an object or person using the colors that they actually see. For instance, when painting a red rose, the artist would be using local color if they painted the rose using reds. If the rose is painted blue, then they would not be using local color.
The paint on this is super thick and it took several days to make the painting. Recently I moved from California, where I had a pretty cramped small studio, to a larger house where I’ve taken the entire basement as my painting studio. This is allowed me to experiment and try out new things that I have never been able to do because I have a lot more space and places for things to dry and services to work on. I can work on paintings over several days or weeks rather than have to rush through them and work on only one painting at a time.
This is one of a group of paintings that were worked on over the course of a week or two in a more layered approach. It began more as a rough sketch on the canvas panel that I worked out a little bit more with crayon and worked out the shading and environment using my imagination. Over the next couple of days the painting was developed more.
The next couple of days were spent working on an underpainting that began his thin washes of oil paint and ended up with thicker more opaque layers.
The finishing day that I worked on this painting I attempted to build up the surface is more and enhance the textures so that the paint textures matched a little bit more closely the physicality or textures of the figures and the environment they are in. Some of the paint is almost 2 to 3 cm thick and applied with plastering knives and thick bristle brushes which I think gives the surface and almost skin like quality.
This painting is a standard frame size and painted on canvas panel.
Canvas panel is a sturdy rigid sheet of archival cardboard with a layer of canvas glued to it. Canvas board is a good choice for making art because it doesn't flex the way stretched canvas does and so thick layers of paint are less likely to crack as the painting ages. It's also easier and cheaper to frame. If you go to Amazon and search for an,
"18x24 inch open back frame"
You will see a list of easy to use do it yourself frame kits. Most under $20
FREE SHIPPING Shipping takes 3-4 Weeks This ships from Round Lake Beach, Illinois. A suburb outside of Chicago. I use UPS and sometimes US Post.
This painting is based on a time honored pose in which a beautiful athletic figure places their arm up almost creating a halo around their head and exposing their armpit. In a lot of homoerotic And in gay culture in general there is a fetish for armpits. Painting is an attempt to wed together the fetish for armpits along with the traditional muscle pose of showing off the biceps of one's arm.
Lately I've been experimenting with different imagery, materials, techniques and color. I've been looking at a lot of my Bay Area Figurative artist favorites, David Park, Elmer Bischoff, Richard Diebenkorn, and James Weeks, Paul Wonner, Nathan Oliveira, Glenn Wessels, Wayne Thiebaud, Raimonds Staprans, and James Weeks.
I sketch the composition out using crayon and then paint successive layers over them using "non-local colors."
“Local color” refers to an artist choosing to paint an object or person using the colors that they actually see. For instance, when painting a red rose, the artist would be using local color if they painted the rose using reds. If the rose is painted blue, then they would not be using local color.
The paint on this is super thick and it took several days to make the painting. Recently I moved from California, where I had a pretty cramped small studio, to a larger house where I’ve taken the entire basement as my painting studio. This is allowed me to experiment and try out new things that I have never been able to do because I have a lot more space and places for things to dry and services to work on. I can work on paintings over several days or weeks rather than have to rush through them and work on only one painting at a time.
This is one of a group of paintings that were worked on over the course of a week or two in a more layered approach. It began more as a rough sketch on the canvas panel that I worked out a little bit more with crayon and worked out the shading and environment using my imagination. Over the next couple of days the painting was developed more.
The next couple of days were spent working on an underpainting that began his thin washes of oil paint and ended up with thicker more opaque layers.
The finishing day that I worked on this painting I attempted to build up the surface is more and enhance the textures so that the paint textures matched a little bit more closely the physicality or textures of the figures and the environment they are in. Some of the paint is almost 2 to 3 cm thick and applied with plastering knives and thick bristle brushes which I think gives the surface and almost skin like quality.
This painting is a standard frame size and painted on canvas panel.
Canvas panel is a sturdy rigid sheet of archival cardboard with a layer of canvas glued to it. Canvas board is a good choice for making art because it doesn't flex the way stretched canvas does and so thick layers of paint are less likely to crack as the painting ages. It's also easier and cheaper to frame. If you go to Amazon and search for an,
"18x24 inch open back frame"
You will see a list of easy to use do it yourself frame kits. Most under $20
FREE SHIPPING Shipping takes 3-4 Weeks This ships from Round Lake Beach, Illinois. A suburb outside of Chicago. I use UPS and sometimes US Post.
This painting is based on a time honored pose in which a beautiful athletic figure places their arm up almost creating a halo around their head and exposing their armpit. In a lot of homoerotic And in gay culture in general there is a fetish for armpits. Painting is an attempt to wed together the fetish for armpits along with the traditional muscle pose of showing off the biceps of one's arm.
Lately I've been experimenting with different imagery, materials, techniques and color. I've been looking at a lot of my Bay Area Figurative artist favorites, David Park, Elmer Bischoff, Richard Diebenkorn, and James Weeks, Paul Wonner, Nathan Oliveira, Glenn Wessels, Wayne Thiebaud, Raimonds Staprans, and James Weeks.
I sketch the composition out using crayon and then paint successive layers over them using "non-local colors."
“Local color” refers to an artist choosing to paint an object or person using the colors that they actually see. For instance, when painting a red rose, the artist would be using local color if they painted the rose using reds. If the rose is painted blue, then they would not be using local color.
The paint on this is super thick and it took several days to make the painting. Recently I moved from California, where I had a pretty cramped small studio, to a larger house where I’ve taken the entire basement as my painting studio. This is allowed me to experiment and try out new things that I have never been able to do because I have a lot more space and places for things to dry and services to work on. I can work on paintings over several days or weeks rather than have to rush through them and work on only one painting at a time.
This is one of a group of paintings that were worked on over the course of a week or two in a more layered approach. It began more as a rough sketch on the canvas panel that I worked out a little bit more with crayon and worked out the shading and environment using my imagination. Over the next couple of days the painting was developed more.
The next couple of days were spent working on an underpainting that began his thin washes of oil paint and ended up with thicker more opaque layers.
The finishing day that I worked on this painting I attempted to build up the surface is more and enhance the textures so that the paint textures matched a little bit more closely the physicality or textures of the figures and the environment they are in. Some of the paint is almost 2 to 3 cm thick and applied with plastering knives and thick bristle brushes which I think gives the surface and almost skin like quality.
This painting is a standard frame size and painted on canvas panel.
Canvas panel is a sturdy rigid sheet of archival cardboard with a layer of canvas glued to it. Canvas board is a good choice for making art because it doesn't flex the way stretched canvas does and so thick layers of paint are less likely to crack as the painting ages. It's also easier and cheaper to frame. If you go to Amazon and search for an,
"18x24 inch open back frame"
You will see a list of easy to use do it yourself frame kits. Most under $20
