The lady in the fur coat…she was my first lady that I sketched out. She was supposed to be only a test, but she turned into a finished piece. I call her “Balance”, now. But, she used to be “Harmony”, and before she turned into a solo painting, she was the first of a trio of paintings. At the last minute she would be replaced for my first show, back in November 2016.
She is drawn in black and gray and influenced by Erté and Edward Gorey. The anatomy of the piece was inspired by the yin-yang, by harmony. Here is the outline:
PLH – my abbreviation for “Peace, Love, and Harmony” – is a collection that started with this yin-yang inspired painting. “Love” was pieced together using the combination of hearts, diversity, showgirls, and dramatic feathers. It was the second completed painting in the collection. Here is a breakdown of the 5 heart outlines (can you see them?):
The last painting in the collection was “Peace”. I do find that this one is a little harder to comprehend than the other two in the collection. Many assume that the ladies are lovers, and they very well might be (that is up to the viewer to decide, I am only the artist). The idea was that their bodies and flowing dresses would create a peace sign. I am happy with the final product, but do understand that the anatomy of this piece is a lot more abstract than I intended it to be. Here is the outline for the peace sign:
When I was done with “Peace, Love, and Harmony” I opened the files up, side by side, and felt an instant sense of irritation. “Peace” and “Love” looked like they were a part of the same collection, but “Harmony” was so dark, she had ZERO color, and she was alone and creepy…I didn’t like that she clashed so much in her solidarity and in her anatomy/color scheme. So, I decided to re-draw “Harmony”.
I changed name of the black and white painting to “Balance”; she is currently featured as my only solo painting and she is my FIRST painting featuring one of my ladies. It all started with her: the lady in the fur coat.
The new “Harmony” took longer to draw than all of the others combined. I knew that I wanted to feature two women that were intertwined in some way – one with light skin and one with dark skin, as I wanted to continue the theme of diversity and equality throughout all three paintings. There were so many overlapping pieces. The biggest challenge was bringing out the skin tones of each lady against the backgrounds of the skirts. The hats and feathers helped so that they wouldn’t get lost against the colors of the fabric. A yin-yang is still used as the base for this piece. Here is the outline:
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