Cubist Woman No. 29
Pictured to the above is a new installment in my Cubist Woman Series. It’s classic cubism with a little futurism thrown in for good measure. My view of futurism uses metalicised flesh. The chosen flesh tone blended with a dark tone on one side, and a light tone on the other. Applied at angles, then overlapping and wrapping the next form on top, and keeping my options open to cubisizing them with three-dimensional elements like simple 4 part box or cube shapes, achieved by line drafts over the area, finish by blending the sides on the edges. Focus on the edge of the line, touch them with a small brush or wadded cloth and just drag a little color to one side until it’s noticeable. Then try a light or white color on the other side of the darkened edge. Observe the contrast. The more you apply this technique, the more futuristic the whole painting becomes.
In my mind I’m thinking about what portraiture, and figure painting in the future will look like….but I want to see it now.
I began a series of nature studies on 16 x 20 inch canvases. This is the one I enjoy the most of my nature studies. Earthy palette, and a brutalist tree in the center of the landscape demands to be seen.
This is the sort of treatment I give when a musician is not playing. The musical instrument seems to beckon the musician to pick it up and start playing. It’s body morphs, and colors bleed in mock visual sound. Like an echo in an empty room. As if it has been put down or dropped, the audio reverberates inside the guitar and escapes into the emptiness, summoning a player.
“When I paint figures, I want to see all the parts. I want to look and see how everything connects to itself as well as look through it and see the space it occupies in the room, what lies behind it, below and above.”
“I enjoy urban themes in my art. Each work is like the square of a quilt that forms yet another window looking out into the city.”
This is a study in Acrylic washes of an Atlantic City streetwalker.
Atlantic and Pacific Avenue across the street near a white colored motel.
The technique is a blend of realistic flesh tones and impressionist application. The Blue Lace was stretched so tight on the skin it appeared to be tattooed onto her form. Her hot thighs faintly smacked as she hustled up and down the street. The chilly night air turning her body-heat to a steamy haze. A halo of sexual energy emanated from her.
I quickly drafted her as she stood still for a minute or two. I focused mainly on the streetlight shimmering on her doll-like face and hourglass shape. Her hair was woolly and reddish . Her coloring changing from a raw chicken flesh tone to white-hot sex-pot tones of orange and pinkish-white jiggly thighs.
-E. A. WILLIAMS
Abstract torsos vie for attention as they wiggle, jiggle, giggle and battle to be corner-queen and hook the next spectator, then turn him to trick. Brunette versus Blonde Bombshell bump bodies at the hips to stagger the competition out of their spot. Ample, rounded, unpantied bottoms flash and glimpses of heaven thrill as the evening carries on. The brisk air scares up a pale trick with time to kill and bucks to burn. The Blonde Bombshell wins and hops into a Cowboy’s truck and is off to…sin.
-E. A. WILLIAMS
The backdrop is a portrait of urban decay, weaved with the players of the evening stepping into the frame of this work. In play, the roving eyes of cheating husbands, the power-wielding executives who are in need of constant submissives in order to pacify their massive egos. The easily vamped sex-starved loser. The modern day sex slave, in too deep to realize female empowerment means that you can’t be in control of your sexuality and be a prostitute. Your pimp owns it, your Johns lease it. The fabric of the city wraps them all in a tapestry of woven seedy desperation. The urban knit-wits are forever running on a treadmill going nowhere fast, downtown.
-E. A. WILLIAMS