Colors in the Snow ©Kesler Woodward 2019 Oil on canvas 30" x 40"
I go back and forth between painting in oils and painting in acrylics. Each has its advantages and disadvantages. Acrylics dry too fast, so are hard to blend evenly. They are too bright, and have to be knocked down in intensity as they come out of the tube, if you want to make them look rich and full. But they are crisp and brilliant, and if something goes wrong, after 15 minutes they're dry, and you get another chance.
Oils dry too slowly, so if you impatiently try to change things, they get muddy. But they are rich, full, and juicy as they come out of the tube. They feel good, smell good, and if you're patient, you can fiddle with them at leisure. I work with one or the other for a year, two years, or more at a time, before changing back to the other. For the last several years, I've painted mostly in acrylics, exploring the opportunities they afford to build layers of transparent brilliance. But with the dawn of a new year, I've returned to oils, reveling in their lush, sensual texture and richness.
January Morning ©Kesler Woodward 2019 Oil on canvas 20" x 16"
In each of my three new paintings, I've handled the oils in very different ways. Colors in the Snow was painted slowly, delicately, sparingly, scrubbing the oils onto the surface without any use of white paint, allowing the white of the canvas to both stand for the purest white of snow and lighten all the other colors as needed. It's a nearly all-white snow scene that's illumined by the myriad, subtle colors of winter.
In the smaller canvas January Morning, I took advantage of thicker, creamier pigments to do wet-into-wet blending, trying to capture some of the intricacies of early morning light as it breaks through the woods and spills onto the foreground snow. And in Graces, I gave in entirely to the sensuality of oils, making unabashed portraits of the beautiful bodies of two of the gorgeous birches that adorn the boreal forest near my home.
Graces ©Kesler Woodward 2019 Oil on canvas 30" x 40"
I think because I didn't grow up making art, but came to it late, in college, and painted entirely abstractly--non-representationally--for years before turning to representation, the way I approach image-making is somewhat unusual. Most artists paint lots of different subjects, but paint them all in similar ways. By contrast I paint similar subjects year after year--light in the North, trees and the boreal forest, the mountains and rivers of the circumpolar landscape--but I paint those subjects, over time, in very different ways. I make images of the things I love, but I love exploring the myriad possibilities of paint just as much. That's why when people who aren't familiar with my work ask me what I paint, I tell them, "I make big abstract paintings that happen to look like birch trees."