What to Leave Out

Do you like to read short stories? They are like tidbits, morsels of something really scrumptious that leaves you wanting more. One of my favorite authors had a book recently published posthumously. I have read everything he has written including his young adult books. Carlos Ruiz Zafón was known for a series of books, The Cemetery of Forgotten Books, set in Barcelona. He did not consider the books a series but rather a cycle. The books could be read in a chronological order or the order in which they were published. He loved watches and his favorites were ones with clear backs that he could watch the mechanisms interact, twist and turn. That is also how he saw his books. They were labyrinths that could be entered at any point. When he died at the young age of 55, he left behind a book of short stories that kept his characters alive. The City of Mist puts his characters outside their usual places. He plants seeds in our imaginations to carry the characters forward.

This analysis is perfect for visual art as well. When I begin to write in my sketchbook, yes, writing in the sketchbook...I let everything run like a stream of consciousness. From these ramblings came tidbits that turned into sketches or ideas. When I am ready to work on a painting I begin with an idea, a word, a song, a poem or just a mark on the canvas inspired by my tidbits or sketches. I move between intention, action and reaction. I let the creativity just flow like I did the words. But then I reach a point where I need to define and edit what is going on. Perhaps the composition has so much going on that it would be better painted as a series or as Ruiz Zafón would say, a cycle.

I want the paintings to have space for the viewer to enter the story. Most of my work is abstract and telling the story involves color, space, marks and movement. What is left out is more important than what is put in. To leave space opens the door for the viewer to enter. When I talk about space it can be physical, emotional or color inspired.

Here are some ideas of working with space:

- Take a photo of your piece in process. Convert it to greyscale and see if you have enough values.

- While in greyscale you can even paint out some areas on your photo. Most phones have this ability in your editing program. Play with that aspect and you might create a series right there.

- I love to use a large original piece on paper, cut it up and create a cycle of work. See my Scribble to Structure classes as a way to do this.

- Rotate the painting or image as you work. I have solved a composition issue by simply turning it upside down.

- Paint out the area you are most attached to. I often have students do this and initially they are reluctant but then they see how they have been working all around the precious area for fear of messing it up.

- When I am working with collage, I use little pieces of tape or poster putty to hold the pieces in place and move them around the composition. Ask yourself if the piece is better with it or without it.

- I like to use painted deli sheets to “erase” an area. Paint the paper a neutral color of your painting and tear or cut sizes to push back a busy composition. This is the equivalent of leaving something out. If it works, then mix your paint and paint it out. See the image used for this blog. It was a very busy painting that I used white paint to create bubbles of business with negative painting.

- If you are painting a landscape, still life or even figurative piece use the idea of leaving something out. This is like a short story. You want your viewer to wonder where does that bend in the road go, what is partially out of view, what is the light source on the still life, what is the figure looking at? You see it is a bit easier to tell a short story with more realistic work, but you can do it with abstract as well.

- Paint an abstract piece using mark-making to express emotion. Color is the main character and shapes, and sizes are the supporting cast. Words and numbers can convey intentions. What you leave out becomes important with abstract story telling. A large shape which overwhelms a small contrasting color shape can convey a powerful tale. A simplified color palette with a zinger color tells a much different story than a piece with many colors.

How does your painting engage the viewer and how can they use it as a jumping off point to tell their own story? Leave something out so they are wanting more.

Adventures are the best inspiration for gathering ideas. I love travel because it gets me out of my usual landscape. You can take an adventure in your own town or country but to really shake things up I like to go where the language, culture, animals and vista are new.