In the past I’ve worked on charcoal video animations.  Last fall I turned back to oil painting.  Now I want to push the oil paintings to take on some of the qualities of the charcoal animations.  There are so many stages to movement in drawing an animation.  So I want to have paintings that hold different stages of figures moving through time.  Except I want them to heartily saturated with thick oil paints. Goals are good.

One thing I am in awe of Cecily Brown for is that her paint strokes appear both calculated and reckless.  The paint quivers on the surface.  When I’ve stood in front of her enormous canvases, it’s just fun to be there and imagine her dancing violently with her paints and chain smoking.  It seems like she’s constantly pushing and re-thinking about the compositional structure within her work based on experimenting with thick saturated lines.  I think she has a solid understanding of pushing color too.

So that’s what i’m going to work on.  not so much the chain smoking.


About scoutcuomo

Charcoal dust and eraser shavings, oil bars and sketch books, wood, gold pray paint, resin, overly soft blankets, and turpentine, feathers and coffee grinds.


  1. Tara O'Brien

    My buddy Tim send this along today! Love this series! Would love to see it! Are pieces from it hanging in your current show? Don’t get down to NoHo enough… and this would be the perfect excuse to.

    • scoutcuomo

      Hey Tara,

      I wish I have been working more on this, but i got caught up with the fish. My show is all underwater creatures and things. thanks for the shout out.

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