Some paintings feel like a slow revelation—figures that don’t simply appear but must be coaxed from the layers, uncovered rather than placed. Wild-Eyed Woman (working title) is one of those pieces. She exists now only in her first stage, an underpainting full of emotion, waiting for what comes next.
The Process: Subtractive Painting
The process began with only 8 brush strokes followed by a subtractive painting technique, where I pulled her form out of a glaze layer rather than building her up with deliberate strokes. This is a new process for me, that I've really fallen for. There’s something almost archaeological about this method—like she was already there, hidden beneath the paint, and my role was simply to reveal her. This approach forces me to trust instinct over precision, allowing the figure to emerge organically rather than controlling every detail too soon.
And yet, even in this unfinished state, she carries a presence. Her expression is raw, her energy uncontained, as if she’s caught in the space between being and becoming... knowing & delusion.
From Paint to Sketch: A Different Exploration
After completing the first layer of the painting, I found myself returning to her—not with a brush, but with a sketch. This wasn’t a study or preparation for the next layers of paint; it was a response. A way to explore her differently, using a scribble technique that mirrored the wild energy I felt in her.
The sketch was chaotic, fast, almost frantic. The lines tangled and overlapped, building movement rather than structure. It wasn’t about refining her—it was about feeling her, understanding her in a new way.
What Comes Next
Now, as I prepare to return to the painting, I’m thinking about what comes next—how to build on what’s already there without losing the rawness that made her feel so alive in the first place. Some paintings fight for their final form. Wild-Eyed Woman seems to be one of them.
This is the stage where I decide how much to refine and how much to let be. Do I lean into the chaos, preserving the energy of her emergence? Or do I sculpt her further, bringing her into clearer focus?
For now, I’m letting her sit, giving her space before the next layer. Some paintings take time to tell you what they need.