Blue on Yellow, egg tempera on calfskin parchment, 6 1/2 x 8 in.
Only once before––in the painting Candy Stripes, which you can see here––have I used flat shapes on a surface as a compositional element. I wasn't sure that this would work here, but it turns out that I like the two flat blue shapes angled against the black void (not totally void, since there's a form emerging at its lower end), behind an angled plane, the only hint of three dimensionality in the painting.
Blue on Yellow, detail
Although the paint is always restrained in my work, it does have a presence, which an online photo can only suggest...which of course is true for all physical artwork, or for the world: a photograph is a limited view, but it can be a concentrated one. I love photography, and I love the internet, and how they allow us to share our work and our experiences from a world away.
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