Enchantment with the birds.
My process started with observation, studying the birds - how they behave with me, how with eachother, how they build their nest, how they take care of their offspring, how they survive in the urban setting.
Above, I observe the nest with 2 common pigeons outside my studio window, hidden behind branches .
The studio view - observing the urban landscape (the roofs of houses and garage shelters)
Above, I paint imaginary scenes. Here "The treasures of a Magpie" (the nest of a magpie) , another charming bird. Here I use my most expensive vibrant paints - to express and confirm the Magpies equivalent of the treasures in/ and the nest.
Further imaginary scene - i paint a family of pigeons - the parents on the far left and right, guarding the children while they eat. I chose specifically the postures of the birds - the parents alert, the children in a small confrontation (one in defense, one in offense) I paint them all on the metal plate that reoccurs in other works. (the reference below)
My pigeon research came to a milestone when i got the opportunity to purchase a dead pigeon.
This changed my focus. It was no longer about the living, active, pigeon - but about the inactive. It allowed me a smooth passage to the idea of death, and how it can be in painting.
I could get close to the corpse, closer than i could to a live pigeon. I studied the feathers and how the relaxed muscles place the bones.
I chose a specific angle to study the body from. I found it interesting to show the dead bird eye-to-eye (eye level), since normally that is not the angle us humans are used to seeing dead birds. It is more intimate like this.