Whether figurative or landscape, my painting has always used a colorist’s approach. At times I will work plein-air to refresh my senses. Studio and plein-air work are complementary to the current abstract and figurative direction my work occupies. Both figure and landscape serve as points of departure for “play”.
I paint in order to find a painting, the subject is not always important. Surrendering and listening to what the painting is telling me is paramount. The subject itself often feels like a necessary evil, not sacred, yet serving as a temporary way of organizing the chaos of shapes, colors and values.
I do not begin a painting with a drawing, as it seems akin to a coloring book experience. It is important for me to keep the idea or image in the back of my mind for as long as possible and let the painting discover itself. This helps the dialogue between the painting and myself. It can feel like an archaeological dig into the conscious and unconscious.
Spontaneous occurrences are the lifeblood of my art and form new directions. Getting lost in this free process becomes a sacred and timeless place. I don’t always know where it is all going, but I know how to get there. This facilitates endless discoveries and new directions that keep me inspired. The most satisfying work is done when I paint faster than I can think – this holds the timeless space to the paintings conclusion.
William Rushton 2017