September 22, 2012

New Hooked Wool Drawings: Balance and Bounce

2012 #16, hand dyed wool and egg tempera on linen, 14 1/2 x 12 in.

I thought I'd play with the idea of movement in these two new hooked drawings. In #16 I was wondering if I could place forms against one edge in such a way that the composition would tilt and topple a little, but ultimately feel balanced. I put the heaviest weight, the fully hooked green square at top, then an open square, then a painted one, thinking the shift from heavy to light would make the shapes more buoyant. 

2012 #17, hand dyed wool and egg tempera on linen, 15 x 11 1/4 in. 

For #17 I was thinking of a ball rolling down, or bouncing off a wall. My aim is that the two circles animate the space between them, with the red bar as an anchor. 

2012 #16, detail

In this detail you can see more clearly how the paint sits on the surface of the linen. I varied the yellow of the square, making it a little greenish-darker at bottom to help with the balance.
Most of my hooked wool drawings have the shapes clustered at the center, so I enjoy at times trying to engage the full working surface.


  1. Hi Altoon. These are very funny.


    1. Thanks so much Tom. I love funny.

    2. I would say "witty" - as I so often enjoy that quality in your work!

    3. Wit is good too, and may be more apt in terms of my thinking. This witty/funny difference sent me to the online dictionaries and I found this, which is more about speech, but here goes anyway:

      "If you're good at perceiving analogies between dissimilar things and expressing them in quick, sharp, spontaneous observations or remarks, you have wit.
      Humor, on the other hand, is the ability to perceive what is comical, ridiculous, or ludicrous in a situation or character, and to express it in a way that makes others see or feel the same thing. It suggests more sympathy, tolerance, and kindliness than wit (: she maintained a sense of humor in the midst of trying circumstances)."

  2. You know I generally adore these pieces of yours, Altoon. #17 succeeds at what you describe. But 16 doesn't work for me at the level of composition. Maybe moving the bottom form into the right edge would bring about that desired motion?

    1. I'm sorry that #16 doesn't work for you, Julie. Too late to make any changes, though I like it as it is.