i don't usually work this late, but something kept drawing me in to make changes to this painting.just as i had cleaned my brushes, i was back at it again, this time making dramatic shifts in the color scheme. the composition has changed significantly as well. action is happening now inside my makeshift frame, which has gone from white to black. the mysterious, faded landscape event taking place within the now black frame has taken on flesh & bones, and the play of light and shadow on the tree trunk & the rock below it make a bold statement. there are a reduced number of rocks surrounding and now embedded in the frame. the painting now has carrying power, and reads quite well from where i sit at my computer desk; about 25 feet away. it now sings! and we'll see in the morning if that's it or not.
above: here's where i stopped work on this painting today & launched back into one i'm painting over, which is called pink rocks motion.
as you can see, it's only partially painted over with white, leaving the painting underneath to show through & creating a juxtaposition of oil paint & oil pastel & crayon.i was just given the green light to send some of these new ones, whichever ones they choose, to gremillion in houston. as you may know, they've been representing my work in houston for over 20 years. so periodically i send images of new work & they choose a selection, which i then sip to them & they begin showing to clients.
11:51 AM: so is this motion 16, or is it i dreamed i saw a rock last night? does it really matter? what matters are the marks. a seemingly endless flow of self-revealing marks.
i can't say where this is going, and my mind occasionally shouts: hey, tarlow, where are you going? i had an inspiration yesterday to make a picture, not a painting. it's common for people unfamiliar with the field to use the two interchangeably. by picture i mean, you should pardon the expression, decorative. and now i could add: in the good sense. but i won't. i mean decorative! perhaps i could qualify this by bringing in certain works of bonnard/vuillard, which i discovered in a book titled beyond the easel, which is about works the two of them & their circle did designed for screens, etc. we saw examples in the musee d'orsay in paris recently. i fell in love with them, and found it a huge relief not to be looking at paintings. i've actually been thinking about collaborating with a friend here in crestone/baca who works in wood on a number of screens. i'm going to call him right now & revive the topic!