The 3 Perilous Stages of Painting

I've come to think of my paintings as arriving in 3 separate phases, phases that, if I'm unaware I'm passing through them, can cause my work to take a turn for the worse.

PHASE 1: This one with the flowers is an example of the first stage where I have a sketch down and a primary layer of color. We're talking basic thesis statements here folks. I was thinking after I left the studio that perhaps this is not a complete thesis statement. Really, where's the "so what". I'm OK with the colors, but what's the point? Can I turn this into a full composition? Is a still life enough for me? Is the presentation of an object enough?

I'm not sure I can answer that question right now, but my point in recording this phase and thinking about this problem is that I have stacks of paintings sitting against a wall that are in this phase. I got this far and lost interest in the painting. Is it simply a matter of subject matter? That could be part of it. I don't feel like giving up on this one just yet because there is a certain amount of energy in the brushstrokes that I think are working and the shapes of the flowers are still holding my interest. Perhaps the trick here is to keep things loose and energetic enough that I don't lose interest. Stand far enough away from the painting. Big brushes. Loose grip. Don't get fussy. If I'm lucky, I can get to phase 2.

PHASE 2:
Over to the right here is the next stage. If I get here I'm in pretty good shape. Lots of interesting things can happen here. But things can go very wrong too. I stopped this afternoon once I realized where I was at. I need to have an idea, a vision about where to go next, otherwise I'll just start randomly adding color and the painting will inevitably fail. I have stacks of these paintings too. The initial composition may be good, but I need some clarity about what's on the other end. There is a good thesis here (revolving around the title: The Ghost in the Thicket), but something is still missing and I'm not sure what. Years ago, I would have called this one pretty close to done. However, what I learned from the Dream of the Red Wolf and that body of work is that I want more out of the composition in a painting. Outline versus full blown short story. How can I complete the narrative here? There's a piece missing in the story and I'm not sure what it is... I'll get to it though, and then we're on to phase 3.

PHASE 3:

Here's the halibut piece again (no title yet). I'm happy with this one. Even felt good enough to put a signature on it (ripped off Klimt right down to the signature!). But I keep looking at the upper left hand corner and I'm irritated by that flower and that mountainous hump. Some would say don't mess with it. I say I want to get the damn thing right. The real problem with phase 3 (also known as "Am I done yet?") is that any new elements I add to a composition to "fix" problem areas can potentially have a cascade effect... throwing off balance, color, whatever. I know this phase by the neurotic tightening of my brushstrokes. Things get overworked and you can really see it. That being said, what I'm thinking now is... have a vision for the solution (check) and stand far away from the canvas, loose grip on the brush, and go for it.

Scary. I could just leave it. But I could keep dancing too... that's what it feels like sometimes. Some internal force, a rhythm, and I just move. It's so visceral, so non-verbal. F-ing fantastic.