Everybody has woken up at some point in their life with a premonition that they were about to witness something awful. This is the emotion that led me to create the painting entitled Out of the Woods. The title refers to the moment when you realize, that was just a dream, and you begin to regain hope that the waking world isn’t nearly as sinister as the dream you just had. Who hasn’t been relieved to see the dawn after a long night of hard dreams? This post explains ‘why’ and ‘how’ Out of the Woods came to be a work of contemporary art encapsulating the universal human experience of dream-induced dread.
The Dream Behind this Painting
The dream that led me to create this painting is not the kind of dream a person has when they are ‘chasing their dreams.’ Rather, the dream behind Out of the Woods was a dream full of foreboding, dread, anxiety, and even terror. I was walking through a forest at night, along a dirt road – the kind of road you might see in a campground. The forest was thick and dark, though there was some visibility in the understory. I spotted a light, far away, but very slowly getting closer. It was the headlights of a vehicle driving toward me along the dirt road. But there was a problem: I grew increasingly convinced that something terrible would happen once the car had reached me, and I was in mortal dread. Like a deer, I was transfixed by the light, and rooted to the spot. It took a very long time before the car was near me, and just before it crested a rise near to where I was standing – when my anxiety and panic was at a climax – I woke up. I never learned what the car carried, who was in it, and whether my fears were justified. The primary sensation was of relief at having escaped a terrible fate.
How I Brought it to Life
Timothy deVries, “Out of the Woods,” 2013, Acrylic, House-paint, and Wood Stain on Panel, 36″ x 36″ inches (Artwork © Timothy deVries; photograph by Timothy deVries)
Compared to my other paintings, Out of the Woods contains some innovations, and presented a few special challenges in its execution. The primary issue was that of conveying the distinct contrast between the light of the approaching vehicle and the darkness surrounding me – all the darker because of my fear. I accomplished this by situating the scene within a clearing. The headlights emanate from behind a rocky crag into darkness, tracing a distinct line between what is in the light and what is in the darkness. I typically paint with areas of flat, bold colour, but for this painting, I felt that an impressionistic technique with dabs of paint would more clearly portray the forest environment. Not wanting to simply duplicate the dark areas of ground that can be seen outside the clearing, I chose to use a wood stain for the areas of sky. This option was possible only because I chose to paint this particular piece on a panel as opposed to a canvas. Finally, about the figures: I felt that some human presence was necessary to provide scale in the painting, and to illustrate the vulnerability of those caught in the glare of the headlights. The last thing I did was to create a shadow for the figures, which made sense, since they were only visible because of the light from the car.
More than Just Paint
For most of us, fear and dread are not frequent or common emotions, but ones that are extremely unpleasant. These emotions are typically generated through the anticipation of bad things happening to oneself or someone you love. I tend to think that the attitude of two innocent people playing leapfrog in the forest would resist the feeling of encroaching fear and dread. Of course, the painting captures their play at a decisive moment, when the car is almost upon them, and yet, they are oblivious. The painting needed to have two individuals, not only as a pretext for some action, but to act as a foil to the sensation which had defined the dream. Their play – carefree, innocent – is powerful in its vulnerability and a symbolic rejection of those powers of darkness and terror. Yet, the title raises the question: are they out of the woods? Does the relief which I had upon waking from my dream belong to them as well? I am not sure about the answer to that question. I would like to think, however, that play counts as a brave way to declare that fear and terror do not have the upper hand.
Collector’s Tips
This piece is being offered for purchase at $1,205 and can be viewed by appointment in my home studio near Hamilton, Ontario. It measures 36’ x 36’ inches and comes framed with a professionally-made black floater frame; alternative frames are available at an extra cost. The painting was made in 2013 with house-paint, acrylic and wood stain on birch panel. With its stained-wood sky, playful figures, and forest theme, this painting would look great in your cottage, guest house, or rec-room.
Conclusion
Although there are many high-quality paintings available for sale on my website, Out of the Woods has a unique origin story and a meaningful connection to universal human themes of fear, dignity, and courage. Art is meant to elevate what is particular about experience into something that anyone can relate to. As a contemporary artist in Hamilton, Ontario, I based Out of the Woods on a common experience and presented it in a way that can be understood by pretty much anyone. Sometimes, all that is needed is to dive into the backstory and to learn about the process of creation. If this piece resonates with you, I invite you to share your thoughts with me via email or on Instagram.
Interested in adding this piece to your collection? Contact me.