BORBAY

This menagerie of stretched canvas fibers has neared completion. As you may recall, this is where I left off with the Guggenheim painting. Yesterday marked yet another sunny Sunday of painting on Fifth Avenue with my business Manager, Tim. A special thank you to everyone who stopped by to say hello, friends and new friends alike. Day two progress on the Guggenheim after the jump.

Today, I am going to start another canvas of the MET – which will mark the second in my series of three Upper East Side Museums, joining the Guggenheim.

Whenever you have a painting blocked out, the second day always feels like an exercise in futility – the progress slows down to middle school math class pace.

A car was blocking the vendor stand, so Tim ran over and snapped a photo for my convenience, startling the proprietor. In a bizarre moment of retribution, I later purchased a frozen hot dog from the same stand which was inedible.

Someone stopped by right around this time to ask me why I didn’t just take a picture of the building? Apropos. This question supports the answer to the question, “why didn’t you use stencils for the lettering?” There is something about the compressed composition of the building and hand-drawn lines that makes this image dance, in a way I cannot photograph.

Painting, no matter how realisitic (or, un-realistic in my case) is an augmented reality. Items disappear, spaces move and organically change, whether to accomodate a chosen composition or accentuate the way something feels.

Met a cool artist who shared her card, she is the Creative Director for the EZine Tangerine eRush. Have a look.

And here is where the canvas lies. It is currently on my wall for observation… no signature yet, but my business manager feels it is completed. Let’s see, I may spend another day out there fine tuning, but for now, it is on to the MET.