A Fetching Breeze

A Fetching Breeze

A Fetching Breeze, oil on canvas, 24" x 36"


The technique is a little different in that I have no concept of what I'm going to paint when I start. I haven't had access to models for quite some time, so I wasn't working with one when I painted this piece. I first decide on which pigments that I'm going to use, then I put a few strokes on the canvas. I stand at a distance and observe what I've done.  If nothing comes to mind, I turn the canvas clockwise to see if anything comes to mind.  If nothing does, I turn it again, and so on.  I add a few more strokes and the first image that I get an impression of is the image that I then begin painting with conviction.  It may sound a little strange, but that's part of my process. I have no bias when it comes to skin color, so it makes no difference to me when a figurative piece comes out looking for differently to the viewer than how they might expect to observe a person in reality.


Once I saw this figure beginning to materialize, she gave me the impression of a person standing in solitude, able to appreciate the enveloping wisps of a light spring breeze, or perhaps the delicate blusters that one encounters when standing beneath the sweet spot of a paddle fan. 

Important as well, is the fact that partially clothed figures can often come across as more appealing to the viewer than fully nude ones.  In this case, a synergy of color, drapery, and mane of tresses help to both mask and bring dimension to the piece.

While painting without a clue is not my only method, I have found it to be relaxing and inspirational.  I often use this technique for abstract and surreal imagery.  For much of my digital imagery I have developed a technique which I call Tertiary Compositing.


Artist: Harry T. Burleigh


    A Fetching Breeze, oil on canvas, 24" x 36"


    Harry T. Burleigh


    I took daydreaming lightly until I became a junior in high school. That's when I started transforming it into an art form. Tiny scribbles in the margins of notebooks became crude and surrealistic, and played a far more significant role when I chose art for a major in college. By the way… If you think fine art is a simple or inexpensive way to get a degree, it isn't.

    Although I learned a great deal socially during this time, I gained most of my creative knowledge indirectly and outside of any structured learning environment. Today, these skills, along with numerous of experience in the film and years television industries, have given me ways to expand on imagery in a very unique and exclusive way.

     I don't show my work very often. It has however, been featured online, in hardback, in Times Square, and in the tubes of London. I also received a Grand Jury Award in SoHo.

     My work is purely subjective, so l won't be offended by your opinions when partaking in my process, some of which is entirely new and technically pivotal.



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