Cylinders, egg tempera on calfskin parchment, 5 x 10 inchesThis painting has a different internal scale than the previous works, which you can see below; the forms are smaller and more complex. The composition is basically divided into three parts, each with a different character, and topped by an apron overlapping the forms below. I get a kick out of the illusionism of that top rectangle; I don't know if it shows in this photo, but when I look at the painting, there seems to be a tangible space.
I had a thought while I was working on this painting that helped me to clarify what I was trying to do with this body of work: make forms that become archetypal rather than particular, so that the real objects which are the subjects of the paintings become disconnected from their origins, become simply abstract forms. I realize I've written similarly before, but working on this painting, struggling to get a balance of form and detail, made it more clear. It's funny how certain ideas that you've had become magically more concrete and present to your mind.
A suggestion: because the painting is long and narrow, it looks quite small on the blog or email page; if you click on the image, you'll see an enlargement. I must apologize for the quality of the photo; I had a hard time getting a shot without glare, which picks up the surface imperfections and somewhat changes the value relationships.
forms that become archetypal rather than particular, so that the real objects which are the subjects of the paintings become disconnected from their origins, become simply abstract forms...
ReplyDeleteor they become 'transforms'. these read like still life objects/ characters in partial shade - the shade interests me, I think of porch shade, umbrella shade, the forms are in repose, waiting in semi seclusion perhaps for the sun to go down/ for the light to change.
most definitely tangible space!
ReplyDeleterappel, I love your metaphor of characters waiting in the shade; I immediately began to think of a row of different folks, young and old, fat and thin, rocking on a front porch.
ReplyDeleteLinda, great, I'm glad the space looks real to you.
This painting has a lot of humor. It's the plumber's view of his universe.
ReplyDeleteI had a dealer in Portland who always wanted me to make long horizontal prints so naturally I turned in defiance and worked the
horizontal vertically.
I like the three part reading of your new piece, Altoon.
hi Myrna, I like your plumber's view reading of this painting; very amusing and a new way of seeing it. As for long rectangles, I think that verticals are much harder to do well than horizontals, which always remind one of landscape, so good for you for turning the horizontal into a vertical.
ReplyDeleteAnother great one! I especially enjoy the velvety paint texture in this and the previous painting.
ReplyDelete