It was four years ago that I started to have the idea of a large horizontal painting filled with figures intertwined in an infinite dance through the universe. I wanted to explore the fragility of identity and the eternal quest of the soul.
At the beginning I was planning to cover all the faces with pieces of universe, it's my leitmotiv after all. As always the painting do whatever it wants.
The face of the figure on the left came out after some initial sketches. What could it mean?
I was never very good at explaining the meaning of my artworks but I tried to take some time to think about this one.
I think that the decision to depict only one figure with a visible face reflects the tension between light and shadow, presence and absence. The lone face stands as a focal point, symbolizing consciousness, awareness, and a sense of self that emerges from the depths.
This figure represents someone who has surfaced from the overwhelming forces of life, fully aware of their place in the world.
The other figures, covered in darkness, embody the mysteries and complexities that reside within every soul. These hidden figures are meant to represent the aspects of ourselves that we may not always confront: our fears, our doubts, or the emotions we keep concealed. Their facelessness is not about erasing them, but about showing how parts of us often remain in shadow, waiting to be revealed or understood.
The process
I started with a very loose sketch of the movement I wanted to give the figures. As you can see, there is chaos, but those little thumbnails help me a lot with the composition (my favorite dino pen is also very helpful).
After finishing the initial sketches, I moved on to decide the size and type of canvas that would best suit Abyss of Souls. Typically, I prefer to make my own canvases from scratch, but this time, given the sheer size of the piece, I opted for a premade, stretched linen. The idea of stretching such a large format on my own was a bit daunting, so I decided to go with a custom-made canvas.
I ordered the canvas from Cerussa, but it seems they are sadly not in the business any more.
Even if it was already prepared, I opted for my usual ground of blanc de meudon, linen oil and colors.
I didn't had to hire models for this project, I have a full library of photos I made myself over the years or I commissioned to various models. Also, I often purchase references that resembles what I have in mind or inspire me.
I had a clear idea in mind of how I wanted the painting to be, I didn't made many more sketches (aside from the figures on the left), I started directly on canvas.
Here is the first step: drawing and underpainting.
After this step I decided to do the background to see the figures pop out.
I began by working on the figures, which turned out to be a lengthy process. I lost count of how many layers of color I applied, as each figure required a different approach depending on my focus that day.
I don't know if it is a common thing, but some days I can paint very well and fast, others (very few luckily) it's like I never had a brush in my hand.
If you ever read The Stormlight Archive by Brandon Sanderson, you will understand me if I tell you sometimes I feel like Taravangian.
Overall it was a very long journey that allowed me to learn new things about myself and the process of painting. Can't wait to be ready to start another one.
Untill next thursday,
Ania
MASTERPIECE