Just pastels, it's like, you want, I'm a detail person, and in oil pastels, or pastels in general, or that type of medium, it's like, it forces looseness in a way, and it's like, ooh, I want to get the control, you know? And it's like, you just can't, you know? And it's like, okay, I just got to accept this, you know? But the vibrancy of oil pastels is just so rich. Oh, they're wonderful. I know, right? I love them.
And so it really makes me want to work with them. But then as soon as I start, I'm like, oh my God, this is so frustrating. I work with soft pastels, not oil ones, but I do work with soft.
When I first started, I was too heavy-handed, and you forget that the pigment is so, you know, it's such strong pigment in there that a little goes a long way. And so, and I do work loosely, so it was pretty easy for me to catch on to it. But, yeah, I make a bloody mess of the floor.
But other than that, I love soft pastels. I just love working with them. They're really cool.
It's an interesting topic, you know, like, because I think I've been trying to undo, because I'm very methodical. One of my good friends, I showed him a piece of work I've been working on for ages, basically share a study room, and he went, yeah, it's really good. It's kind of very mathematical.
And it cut me to the quick, actually, because what he was saying was, you're a bit tight-knit. You're a bit sort of too analytical with it, yeah? And he was right. I didn't like him saying it, but he was right.
Yeah. And it's that balance, isn't it, between chaos and delineation, which is really interesting. And, like, you go back to the 30s with the surrealists and how they started their patents with these automatic surrealist methods.
I think you can sort of, I think you learn a lot from them. Like, for example, using a very bleeding medium first and then seeing what develops out of it and then trying to bring it into a composition. That battle between chaos and order, I guess that's kind of what art is, in a way.
