Painting new progresss

Scars of Bremen

The basic composition to Scars of Bremen has been retained. Although symmetrical, and in some ways quite ‘still’ as a consequence, the vertical bands continue to suggest movement along the vertical schema…or, seen from above, a grid system moving ‘north’ to travel along. The relationship between this and the concept of a plane’s radar screen is still very strong, maintained to some extent with the background green retained for the base panel…

Milking It

Milking It has received a fairly radical compositional change in that I have introduced an outer ‘border’ to contain the shapes that, previously, felt rather disconnected within the picture plane if not disconnected to each other. This has elicited a small, square panel in the bottom right corner juxtaposed with a larger oblong panel diagonally opposite, so therelative weights of the panels feel and look different as a consequence…

Thrice NY Chimes

Interesting as the 3 oblongs atop the vertical lines in Thrice New Year Chimes are, the small canvas size was starting to be an impediment to the general approach of the painting and the rendering of the surface in free-er and more gestural ways…so I’ve decided to block in the top 2/5ths of the painting and will return to defining these panels (assuming these changes don’t instigate a change of direction anyway) near to completion…

Behind The Timeline

With Behind The Timeline I’ve re-orientated the image by 180 degrees so that the horizontal panel gaps work differently and help to lead the eyes, left to right, towards the panel now on the right. The movement across is continued by 3 short lines exiting this panel – the non-symmetry works much better now for this piece…

Plus Ca Change

The previous versions of Plus Ca Change felt fussy so I have eliminated 3 chevrons from the composition and, as a consequence, the image looks bolder and more substantial somehow, despite reducing the content. The 2 square panels maintain a certain awkwardness (and the jury is still out, for me, as to whether they work or not) but look better now that they are competing against less downward directional force…

606 Club

Essentially, 606 Club is unchanged except for re-uniting the 2 album cover shaped panels with the background via means of colour. The vertical axis down the middle still appeals in relation to the twin horizontal panel gaps emerging from the left and the ‘handle’ down the right-hand side. This latter feature recurs a great deal in my main work too, as by habit, so it’s either a blessing or a curse. But it feels appropriate for this piece…

Air Pressure

The inter-locking parts in Air Pressure became gradually more and more disatisfying for some reason that’s hard to explain. Maybe it was the way the 2 right hand square panels encroached on their left-hand sides with the left-hand side of the painting…maybe there was something dull, or uninteresting about it…whatever, I have decided to edit back the panel gaps, cut out the 2 square panels (so they interlock without showing a 4th side) and invent a right-hand side to the piece which feels as though it is grabbing the left-hand side more successfully…

White Elephant

A slight compositional adjustment to White Elephant sees the right-hand ‘bar’ eliminated – now the panel gaps emerging from the left carry on right across the picture plane (save from the ‘track’ down the middle) and exit the right-hand edge of the painting instead of getting blocked off. The image now feels more satisfying, if a little simpler…

In Real Time

I’m still most obsessed about In Real Time. The accidental creation of 3 over-lapping ‘doors’ all seemingly incorporating the square panel is completely intriguing and works like a puzzle – which panel is at the front, the middle and the back? The background, therefore, feels ambiguous, spatially complex and consequently more challenging to read. Interestingly, also, is the degree of ‘wear’ already exhibited in the rendering of the piece, and yet it has only had the same number of surface treatments as the other 11…

Tripping The Light

Not much change to Tripping The light except with the treatment on the surface using this warm ochre-ish orange to warm up the under-painting. The issue now seems to focus upon the colour combinations of the 3 ‘lights’ – do I go down the line of bold, stark colour with little implied ‘decay’, or the opposite – merely hint at the original colours of the lights through allowing colour to show through etc…there are also tonal issues to resolve with these, regardless of the amount of colour exposed…

The Submarine Models

I’m slightly concerned about an ’empty’ area in the top/right corner of The Submarine Models but like the way one of the panels fits the spaces of the panel gaps and the other floats above them. The composition, in many ways, feels the most tenuous in its link to the original observation text, and I might need to address this down the line, even if the painting ‘works’ in its own terms…

Nameless

With Nameless I’m dealing with a bold panel that feels joined into the left-hand ‘door’ along its bottom side but sitting above it on its top side. I’m not sure about this and may well have to adjust it at the next treatment…but the right-hand shape feels good…

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