Recent Work from Matt Abraxas

It is more difficult than it seems fitting to write a new blog now and then. I suppose I’m grateful to the lone subscriber and the two or three people who actually read these, otherwise I’d feel obliged to spew anything I can think of.
I will, at some point, express more of my thought on being an artist, but for now, I just want to post a few recent paintings.

Most recently is “Divergence”.
Oil on Linen, 16 x 24 inches.
Named “Divergence” because of what happens when looking at the woman in the painting. For me, at least, it seems that the focus of attention has a conflict between her breasts and her eyes. This was from a photo shoot for a different painting. It wasn’t really posed, just shot quickly while she waited for instructions on how to sit. I loved how it turned out, but avoided painting it for a long time because of how seductive it is. It seemed too seductive for me, too blatant. After a while though, I gave in and now it is my favorite new piece.

Divergence, 2011

Next is “Near the Flames”
Oil on Linen, 36×24 inches.
From a photo shoot from a couple years ago.
Another pose that I didn’t bother much with. I did set this one up, but only snapped a shot and thought it wouldn’t work.
I spent a couple weeks working on the fire, making many studies. I’m still not completely satisfied, but it works. Maybe one day, if I still own this piece, I might go back and change it. Or else, I’ll realize it’s perfect.

Near the Flame, 2011

Velvet Robe, 2011

“Velvet Robe”
Oil on Linen, 48×26 inches.
I worked on the pose for this one, making sketches and several photos. I planned this one out, wanting something that almost looks like the woman is stepping out of the canvas. I especially like the texture achieved in the background in contrast to the smoothed-out skin.

And finally,
Oil on Linen, 36×24
I suppose here is the turning point in my work lately. Though I’ve used some of the same application in previous works, especially re-works (Subterranean Venus, Boa Skirt and Kihara), this is where I conceived of the painting and then painted it in the same way from the start. The application suggests a more subdued appearance, lessening the starkness of my style. There is still, of course, the chiaroscuro element.
I’m using the palette knives more, and scraping the canvas more as well, which is something that took getting used to. Quang Ho explained his process of doing this and it scared the poo out of me, but now that I employ it, it’s refreshing, rewarding, and fun.

Evanescence, 2011