72 Artists Magazine May 2020
All these techniques and manipulations happen over large
canvases, often as long as 6 feet. The grand size allows the
artist to make big, bold, gestural brushstrokes. “The main
reason I work large is that I love abstract art,” he says. “After
all the work I do to the surface, parts of the still life look like
they’re made up of many, small abstract paintings. I think
the viewer gets two experiences: one looking at the still life
composition, the other up close and seeing all the details.”
For Balmer, a successful painting represents life but is
closer to abstraction than realism. “So many elements have
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to come together to make a work successful—color, composi-
tion, chaos, calm, texture—that some take weeks to solve;
others work out in a few hours,” he says. “When I’m inspired
and focused but not too controlling, I get the best results.”
Amy Leibrock is a Cincinnati-based freelance writer and
content manager.
Mediterranean Midday
oil on wood panel, 48x48