Making Of An Abstract Painting In Pink by Maxim Grunin. Step 3

I use that soft wider brush to gently blur the entire surface of the artwork together. I really like the way the oil paint looks when it is blended this way. Gerhard Richter is my influential source for using this and other methods of moving paint. Looking at the medium blurred  in a soft misty way can be exquisitely enchanting. There is oil like fines to it. The painting I am making is largely intended as an object of decor, something to have around a living space. I want it to be pleasurable and subtle rather then a statement of artistic expression. 

The next task is to build up some textural, even more expressive marks. This is a job for the palette knife. I am adding new elements and colors to the smooth first layers of paint. Having life long studio experience I know, that I will always for sure understand it when my painting is complete. I am waiting for the balance the conditions of which are only known to me. Take a breather. Put the piece away. Forget all about it. Then the next day see it with the fresh eyes and voila - it either feels done or it shows me exactly what is missing.

Here are some details of the painting. The interaction between the smoothly blended ground and the more coarse raised marks enhances the depth of the painting's surface. The addition of blue-gray removes the monochromatic feel from the piece. Suddenly this painting seems more colorful. I get a precious luster of a pearl from some of the areas in the artwork. I throw some paint to produce the more accidental spills and drips. It would be ideal if this painting was quiet and poetic so that the viewer could relax around it. Being reserved when painting a piece like this is important so I don't overload it with visual information.