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Painting and Recognition
My favorite means of composition is recognition. That means I put paint on the canvas, push it around for a while, add another color and work it into the composition. I cover the white canvas as fast as I can with three colors, then step back. As odd as it might seem, I ask the picture what it wants to be. First, I work with larger movements, especially color and form relationships. If the result does not "work"--if it offers no resonance--I check smaller "passages" of the developing piece for clues to the personality of the work. Sometimes, I transpose the thrust of a small passage into a larger theme. Quite often, I listen to music, or sing as I work. "Aquamarine" started with Golden's lovely Cobalt Teal hue. I worked Raw Sienna over it in spots, then set it off with Anthraquinone Blue. My husband fell asleep in the other room, waiting for food. After all these years, he knows that "I'll get supper in just a minute" means chili for breakfast. This painting did not work right away. I had to leave it, let it dry, and look at it again later. I had to turn it around, and paint over some lovely bits of business. Finally, I recognized it. The piece is complete (I think). As long as a work is still in my home, it is not safe from revision. Recognition How shall I be known
when all is said
and what is done is done and done?
What will be found
after the long search
in painted corners?
May it be the passionate
complexity of complementary colors,
that cancel one another
into the humble tones
of soil in pigment
and the purity of unshattered white
in light.
How will I be known?
I am nobody. |
Aquamarine, Acrylic on Canvas
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