this morning i realized that parade 13, below left, needs simplifying. so that's what i'll work on today, in addition to choosing a theme for the next painting in this series. once the art fix L64U is purchased & arrives, probably around mid-december, i'll launch into the 5x5' and 6x6' versions, beginning preparations for my houston show with about 12 of these larger format best left unsaid paintings.
drasa:
2ND ROW left: is how the collage i was playing around with the past few days ended up. it's now titled drasa, after the village on the island of andros, a greek cycladic island, which can be found on the map fragment towards the right of the piece.
2nd row right: the previous, 11/28 version, where the pieces were not yet attached to the surface. essentially, there is nothing left from this version in the completed drasa. (the first letter is not a hard D but is pronounced like the TH in that.)
b.l.u. 13:
12:54 pm update: below left=before the revisions i've done so far today; right=after revisions.
COMPARE THE TWO. let your eyes relax & go slightly out of focus. scan the two images, using the right & left arrows to click back & forth. WHAT DIFFERENCES DO YOU PERCEIVE? DID IT CHANGE FOR THE BETTER?
my opinion: the space has been activated. the eye travels without getting stuck. it works, both as a realist portrayal of figures seen from above, moving about MOMA and as a purely abstract event on a two dimensional surface. one's memories of light and shadow, color, height, and of millisecond long glances and glimpses in similar spaces fuel the narrative.
a specific moment in time and space has been transformed into a metaphysical puzzle. remove one piece and the entire illusion collapses. one of the tests: does it "carry?" does it read from a distance? yes and yes. when the time comes, it will be very interesting to see a work such as this scale to 6x6 ft.
