painting, oil on hand-stretched canvas
28 W x 30 H in
ready to hang
oil on canvas, hand-stretched by the artist.
built by the indirect method: the entire value structure resolved first in monochrome brown — a brunaille underpainting — light, shadow, and modeling worked out before any color existed.
transparent glazes of blue, yellow-green, and rose were then laid over the dry ground, so the brown beneath still carries the light and the color carries only hue and warmth.
the layered technique of early european panel painting, given to a devotional subject. painted edges, gallery wrapped, ready to hang.
i wanted a tattoo of ganesha. all those arms — the axe, the small drum, the bowl of sweets held out, and the fourth palm open in abhaya mudra, the gesture that means be unafraid. i am not hindu. i didn't want to wear a faith that isn't mine. so i painted him instead. it’s appreciation rather than claim.
may he sit in your room the way he sat in mine — patient, ornate, saying be unafraid to whoever passes.
painting, oil on hand-stretched canvas
28 W x 30 H in
ready to hang
oil on canvas, hand-stretched by the artist.
built by the indirect method: the entire value structure resolved first in monochrome brown — a brunaille underpainting — light, shadow, and modeling worked out before any color existed.
transparent glazes of blue, yellow-green, and rose were then laid over the dry ground, so the brown beneath still carries the light and the color carries only hue and warmth.
the layered technique of early european panel painting, given to a devotional subject. painted edges, gallery wrapped, ready to hang.
i wanted a tattoo of ganesha. all those arms — the axe, the small drum, the bowl of sweets held out, and the fourth palm open in abhaya mudra, the gesture that means be unafraid. i am not hindu. i didn't want to wear a faith that isn't mine. so i painted him instead. it’s appreciation rather than claim.
may he sit in your room the way he sat in mine — patient, ornate, saying be unafraid to whoever passes.
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