Visible Brush Strokes: Impasto Painting

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By Marlena Chertock

“I feel like I hit a wall,” says junior Hannah Methvin in room 3312 of the Art/Sociology building at the University of Maryland. The 24×36’ canvas she painted in red hues stands before her on an easel. There are lips, the curve of a nose and a brown-red border.

She’s trying to paint a collage she made, the first step in this project on expressive painting — an eye with dark black lashes, flipped on its side, with a woman’s nose, lips, teeth and chin showing through where a pupil would normally be. There are quotation marks around the woman’s lips, like she has said something or is just beginning to speak. The paint is smooth and the reds blend together, forming creases and shadows.

Painting, like many creative endeavors, is more than putting brush to canvas. It’s about risks, taking the artist’s hand out of the creation — the process is very difficult. It’s allowing the painting to become it’s own being, separate from the painter.

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