Even when using
oil paints, the lack of a texture that resembles canvas felt very weird.
It does an excellent job of showcasing
oil paint's role as a substitute flesh in a simulacrum of decay, corrosion, and corruptibility.
The
oil paint's heaviness causes it to fall downward, suggesting that the paintings were executed vertically (although they were not) and are therefore akin to observational painting, as opposed to graphic design or concrete poetry.
The artist used richly-hued
oil paints and metallic leafing applied in bold, sweeping lines to compose a dynamic scene of ships at sea.
If the
oil paint and the canvas could speak, I am reasonably sure they would say, "Do not touch me, do not erase me." And, of course, the canvas and the
oil paint are humble, disperisable in and to the hands of the artist, until love brings them to near perfect expression.
I find
oil paint is bit more forgiving as a medium than water colour.
The final layer of actual
oil paint served to "punch up" or bring out some sensation of detail and clean up the figure.
Its tragic drift is bookended by a pair of GWs: Bush, recognizably smug even in a few blotches of
oil paint, and Washington, a la Gilbert Stuart but mortally disappointed.
[Only a portion of artists today seem] interested in making their art last a long time without having to rely on old tried-and-true materials such as
oil paint."
A partial inventory of Gallo's materials would include dental floss, toothpicks, a towel, string, wire, French vermilion
oil paint, buttons, toilet paper, spackle, bric-a-brac, a bedsheet, picture frames, amateur sculptures, and patterned fabrics.
Mixtures of glue, watercolor, and
oil paint, often applied in thick layers, augment the sensuous presence of the panel until it forms a relief.