Endings

Year's end is neither an end nor a beginning but a going on, with all the wisdom that experience can instill in us.

(Hal Borland)


Opening a show, is sort of like throwing a big party except there is even more work and coordination and showing your work often evokes a certain level of excitement as well as anxiety and insecurity. The day following the opening, the artist often has to try to discover ways to forestall the postpartum blues (opening of show variety) Then as the show continues your interaction continues. You meet people there, you chat, you answer questions... Then you take it all down. Today I took down the show. I uninstalled. I brought the work home. So in an effort to distract myself and forestall the postpartum blues (end of show variety) I am blogging. I am going to answer that question I am so often asked.... how do I know when a painting is finished? Unfortunately, my honest answer is probably less than informative. The answer is, when I have said everything I can say in that particular painting- when there is resolution, and the painting is not over worked (there is still some entry point for viewers to wander around and find their own meaning, some breathing space). And how do I know that? Well...


There is a lot of standing (or sitting) around looking involved in painting. When I am getting ready to quit painting for the day, I usually appraise and try to determine what my next steps are going to be. I like to leave for the day knowing where I intend to start back up. When I come back, I step back to see what has changed since the last time I saw the painting. I know it is just seeing with fresh eyes, but please indulge me while I make believe the painting looks different because the painting gremlins were hard at work. Because most of the time what is in front of me is not exactly what I have been looking at in my head. I do the same thing when I conclude that I am "done". When I look and decide This is it! I leave and return later to look again.

I can't believe there is a poet who hasn't eagerly put down a word one day, only to erase it the next day deciding it was sheer lunacy. It's part of the process of selection. Stephen Dobyns

When I come back, sometimes I notice there is something unresolved in the lower left hand corner (let's say) which causes me to go work that area which leads to another area or maybe the entire picture requiring additional work!

That's all there is, there isn't any more. Ethel Barrymore

Then there are the other times. The times I return to the studio and find a painting that reads an an entire piece of work. At those times I sit and visit with the painting. I get to know the painting as an observer not the person familiar with how it came to be. Now that is finished.

To put it as simply as possible - and this is a simple answer, not a total answer - I know when a painting's finished when I understand why I wanted to do it in the first place. (James Elkins)


RitaMarie Cimini

RM Cimini is a painter based in Delaware, working in oil glazing over acrylic on canvas. Trained as a formalist, she now turns that structural discipline toward a different aim: paintings that invite viewers into a moment of interior stillness. Most works begin with an underpainting, built up through repeated layering, scraping, and re-layering, sometimes with raw pigment worked into the surface for texture. That process of addition and subtraction stays visible in the finished painting, inviting the eye to travel through the paint and find forms that are partly hidden.

Drawn to water and celestial skies, Cimini uses light as a visual metaphor for the fragility of form and our shared transitory state of being. A meditation practice spanning more than four decades informs both the paintings and how she hopes they're experienced. She also facilitates meditation groups and writes about art and spirituality for Huffington Post, Sivana Spirit, and her website, rmcimini.com.

Cimini's work has been featured in solo exhibitions at the McNichol Gallery at Neumann University in Aston, PA, and at baby grand Gallery at the Grand Opera House in Wilmington, DE, and in group exhibitions at The Delaware Contemporary, the Delaware Art Museum, the Belskie Museum in Closter, NJ, and the Monmouth Museum in Lincroft, NJ. She served on the board of Studio Montclair, a nonprofit visual arts organization, from 2013 to 2022, including as President from 2016 to 2019. She holds an MFA in painting and sculpture from Bennington College and is an inducted member of the National Association of Women Artists. Her work is held in private collections in the United States and abroad, and in the public collections of Atlantic Health System, Memorial Sloan Kettering Cancer Center, and the MC Hotel.

https://www.rmcimini.com
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On Rejection and Acceptance