These two are explorations into a
medidology for the new Beyond
Landscape Class in July.
My concept is a mash-up between a 30 year old image Alluvial Island Series and the detail offered with mark making and line work, giving it a new wrinkle of glazing.
I was so excited about the red I achieved with the Alizarine Crimson glaze over a cadmium orange in the sundown farm i wanted to see it reversed. I ‘m not certain what would best create the electric Prismatic Progression in orange to red of SunDown Farm
these two pieces are variations on the Savage Trees Series…. This series best illustrates the front / back I have been exploring. What is spacing between trees vs. the excitment in the background shore. The above approach will place a cool neutral dark forground in oppositon to an excitingly warm background while the one on the right will place an excitingly cool forground and you can already see how much more exciting I have to make the far shore to balance the forground energy and excitement.
Revisiting the Alluvial Island Series — 30-year-old imagery as new raw material
Mash-up concept: Geological abstraction meets contemporary mark-making and line work
Glazing as the new wrinkle — not finishing, a second structural decision Cerulean field drying — then ultramarine glaze in the heavy, anchored passages;
magenta glaze in the atmospheric voids and edges
Where the two glazes meet: a violet transition zone that belongs to neither —
potentially the most alive passage on the surface
The Alizarin Crimson over cadmium orange discovery in the sundown farm — transparent cool over opaque warm, richer than either alone
Selective glazing as compositional structure — not just what color, but where does this color have jurisdiction
Two explorations in methodology for Beyond the Landscape, July intensive
