Parti cipating in what you paint can be painful when.
your subj ects are watermen doing real work on the water.
Castelli speaks of a winter’s day on the water just as expressively as he paints: “Think on this if you will- it can be bitter cold,
cold enough that the bones in your fingers will hurt for hours and the computer in your camera wil l go on strike. When you haul nets,
your hands get so cold that you have to hold your fingers inches off rhe boar’s engine exhaust stacks just to bring rhe hurt back to rhem.”
Nonetheless, Castelli admits, “the water has always captivated me.
Its changing light, color, texture and constant motion, along with the ever-moving weather and reflections,
Bay Waterman provide a landscape for painting that is never the same.
Add to that rhe boars, those who work on them, especially the interaction of the two, and I never grow tired of ir.”
Marc Casrelli’s choice of watercolor as his principal medium refl ects what attracts him to maritime subj ects, in char ir is particularly unfo rgiving.
“With watercolor, you only get one shot to get ir right, as opposed to oil, where you can sometimes overpaint.
I start the creative process with hundreds of photographs.
Action on the water is much too fast to catch with a paintbrush or pencil.
l edit the slides and view the best from which I then draw out the painting for several hours.
Great paintings need good bones, and mine start with the photograph and the sketch.
I refine rhe image from the original photograph as I sketch and paint.” Castelli paints from a different viewing point than most artists:
“I like to do my paintings from a unique perspective, often using rhe distortion,
for Artist Marc Castelli taking a break from culling oysters.
Castelli has formed a close bond with the watermen he depicts in his art,
Bay Waterman a bond formed by working side-byside with them, in their boats,
on their fishing grounds. example, of a wide angle lens.
The distortion is extraordinarily inclusive in that it draws the viewer into the painting, almost as a participant.”
His paintings are remarkably varied, ranging from action scenes of racers on the verge of capsizing and watermen balancing long oystering tongs,
to still-life images such as a view of a net from a fish’s perspective or a derelict workboat settling in to the marsh grass for all eternity.
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