Larkins’ work is distinguished by many things. It’s distinguished by her decision to use a palette, to start. She uses primarily Winsor & Newton. Her paintings are dominated by grays and blacks, which she then augments sparingly with soft colors. These often serve as accents. They lift the work away from an insistent monochrome and suggest a world of color.
The effect is distancing — perhaps even alienating in some way — as though color has become little more than a memory in some sort of dystopian future. That’s why its use adds to the highly charged atmosphere of her work.
“I like how the eye begins to discern more and more color in a reduced palette over time,” says the artist. “Grays take on purple and yellow and blue casts, or a black can lighten into sepia or buttercup as it’s lifted or thins.”
Finding the Finish
Eventually, Larkins must face the moment when she has to decide when a work is done. “I know it’s finished when the surface is developed enough to match the scale of the piece,” she says. “It must have a feeling of energy, which I think derives from contrasts. One of the many lessons I took from Ching-Bor’s class was a notion of areas of density and areas of openness in a composition. Especially in a large work, the ‘body’ or treatment or layers of the surface really has to increase to have a contrast that carries at that scale.”
Larkins’ finished paintings are both spectacular as tours de force of watercolor technique and deeply affecting as evocations of a contemporary landscape.
“One thing I’d love to contribute to is a growing sense that watercolor has possibilities well beyond a sketch medium or delicate translucence,” says the artist.
Below, Larkins shares her five watercolor hacks every beginner artist should know. Enjoy!
1. Working on rough-pressed paper, using tools such as stiff-bristled oil paint brushes and a spray bottle of water offers a chance to lift or reconsider marks. And, it results in interesting textures. This removes the issue that can happen when using watercolor.
2. Tube paint with very little water behaves quite a bit like charcoal or pastel. Add a bit more water, and it will make a textured, rich surface. These contrast beautifully with areas of a light wash.
3. Embrace watercolor’s movement and look for beautiful things that happen within the traveling of the paint.
4. Working on more than one piece at any given time prevents overworking any one piece.
5. A hairdryer moves things along considerably.