“Empirical Romaines” 2016. 16″ x 10″ Acrylic impasto on Strathmore acrylic paper applied using palette knife. Oblique lighting on this photo emphasizes impasto effect. Continuing efforts to master a new technique and style by choosing a challenging subject.
“Ravens Fall” 2016. 16″ x 10″ Acrylic impasto on Strathmore acrylic paper applied using palette knife. Oblique lighting on this photo emphasizes impasto effect.
16″ x 10″ Acrylic impasto on Strathmore acrylic paper applied using palette knife. 2016. Striving to master a new technique and style with a challenging subject.
10″ x 10″ Acrylic impasto on canvas paper, linealist style. 2015. Gaining facility with the technique. Planning a show for the November time-frame. This painting will hang diagonally, with the upper right corner being at the top. After finishing another 2-3 paintings of more simple objects I will begin using the technique with portraits of uncritical and uncomplaining family members.
9″ x 9″ Acrylic impasto on canvas paper, linealist style. 2015. Attempting to further refine the “linealist” concept, working with only a palette knife to compose a painting using only short lines of pigment. Using a combination of texture and color to enhance contrast in order to separate figure from ground. Working from a photo I took in my yard using my tablet’s camera.
“Upright Prairie Coneflowers” 8″x8″ Prismacolor and Verithin colored pencils on Strathmore Bristol vellum.
“… let it be remembered that this really the aim of all art; to give us some comfort by helping us to comprehend, to mentally master what we can never get the best of physically.” – Jeffrey Feinman, “The Mysterious World of Agatha Christie” (biography)
Negative spaces articulated at the outset define laminar flow around an underlying structure.
2009 by Michael Alvin Hill. 14 1/2″ x 24″, Acrylic on gessoed masonite board, cradled.