I like to read Ute’s description of her process (even in the fractured google translation) almost as much as I enjoy looking at her paintings. Any artist who has been disappointed as they work on a piece will appreciate Ute’s thoughts and changes of direction as she works.
I walked into the studio and immediately began to work the image of the wayward last studio days.
I repaired here after and there, and was still more new colors, took a bucket of white on hand to the entire figure whose stiff-looking attitude appealed at all to me, with coarse white brushstrokes new and looser to bring to the screen, while my husband for me the big picture (it’s worth pyrophoros be nailed) to the wall.
Ultimately, I lost my only continues on this path that led to nothing, nothing worked the way I had imagined, and in the end I had a choice, despair, or a radical U-turn to perform. I chose the latter, took the white paint bucket, emptied it on the figure, divided the masses of color with a broad brush on the entire lower surface, pour the entire bottle of water over it, lifted the image into the air and come crashing down leaving the water-color splash to seep into the carpet.
As impressive as it was, the figure of a sudden face to face to face, even having to look up to her. It was as if this radical Befreihungschlag not only the image but also helped me to pull down a blockade, because the work on the big picture was, despite the late hour, wonderful.
Because no battle with brush and paint, the movements, the strokes, lines, areas I was running loose in your hand, everything seemed coherent and, although it is still far from finished, I was there after all the color was vermalt, balanced and happy to leave behind on the wall.