(i don't know if i am making any sense at all.)
i've been trying, among others things, to hold the feeling of "that's enough, you don't need to scream so loud to make sense and be beautiful", the minimalism, the serenity and silence. i think i got that once with "Waterlily". Eastern philosophies teaches us about the meaning of the emptiness, and that reflects in their art. i think that one of the things that transmits that peacefulness you experience when observing a piece of Chinese or Japanese art, for example, besides the softness of the lines and colors, is the use of space. in most works, at least 30% of the area is an empty space. empty, but absolutely meaningful -- that emptiness is exactly what expresses reverence. here in the West, the emptiness bothers us. we just cannot be minimal. we have to fill up every space with stuff. when i paint, the background is the part that most bothers -- and intrigues -- me. i just can't leave the background alone and concentrate in the figure. i've tried many things, and if i don't fill up the space with little triangles, swirls and other visual paraphernalia, i don't feel good about the painting.
the approach i've been trying for a while is integration and adaptation. working on the background first, and then adding to it. make the figure to adapt to what the background commands. which is also sort a philosophical approach. to go with the flow, to dance according to the music. do not force, do not fight. just adapt. use the force you consider an enemy as an ally.
background was inspired in the texture and colors of a rock, and built with a sponge to give that grainy effect. love it.
when i was making the Materia series, i left each color of the 4 elements to guide me through the painting and teach me things. i found out how refreshing and invigorating the greens could be; the blue, so spiritual and apparently passive, can have a strength that sometimes is difficult to manage (in my opinion, is the most difficult color to work with). the same sensorial approach is being used during the making of the "O Fortuna" series, and it is probably something that will accompany my creative process for a while. working with the energy of the colors and the suggestions given by the shapes that will form by texturizing the backgrounds brings my process closer to a more "right side of the brain" attitude of making art. less rational, more psychic and visionary.