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Polygons Process: Sketchbook to Sketchup to Substrate

The sketches I make when preparing a new Polygons painting look simple, but it takes quite a bit of time to draw each form. I draw, erase, redraw, making smaller and smaller movements as I get closer to what feels right. The way they lean, the balance of obtuse and sharp angles, the height to width ratios, are all gestures invested with emotional resonance. It is deliberately analogous to the way I think of people: I remember them less from their looks or names, and instead think of people in terms of how they feel – how they inhabit space, the emotional resonance of their interactions. Over time, people who feel similarly begin to blur together in my memory.

Once I’m satisfied with the shapes, I reconstruct them in Sketchup and move them around. This program gives me incredible latitude to play with them, establishing spacial relationships that evoke narrative.

When the drawing is resolved, I redraw the whole scene on a flat, bright piece of hot-pressed paper. The final part, which is often the most difficult, is the color. I probably spend more time mixing than anything else – there are very few out-of-the-tube hues in my work. I like gouache for its flatness and ability to be rewet after it dries on the palette.

I’m not yet sure what color these ones will be. The colors I drop in with Sketchup may establish an overall tone, but they rarely carry over to the actual painting.

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