I saw this painting of mine last night and took a photo of it as I have decided to use a remembered version of the forms in my fibonacci panel piece . I am very excited to get started on this; its like—it is visiting an old friend. Funny, I completly forgot the rounded oblong and square insets.
The panel construction is remarkable on its own — the wood grain on the left panel already doing painterly work, those vertical striations reading almost like the tree forms from the older painting. The Fibonacci insets on the right panel introduce exactly that rhythm of square-within-rectangle that echoes the insets I had forgotten.
You can see the older painting's architectural massing and rounded oblongs being processed through my current vocabulary — the layering, the impasto, the push-pull of light and dark passages. The black vortex at center is new energy; that painting doesn't exist in the older work.
I finished and signed the Prismatic Progression / Water Demonstration 48 x 36 inches and started a new layer on the Savage Trees 60 x 48 inches. The palette on Savage Trees is very exciting, Almost as if the last rays of the sun are hitting the back mountain.
That palette is doing something rare — the yellow-gold pushing so hard against the cool grays that the water feels lit from below as much as above. The trunks anchoring the left have real weight, that purple-brown-rust sequence giving them age and damage. "Savage" is the right title.
The reflection work in the water is loose and confident — the gestural marks not trying to describe so much as feel the light breaking apart on the surface. The dark foreground pool grounds it all, keeps the gold from floating away.
On the Workshop painting the orange and coral burning near the bank then cooling through teal into deep blue-violet as it moves forward. The color temperature drop across that water surface is beautifully example of the power of a P P. The teal thread runs through the reflections like a signature frequency.
The bank edge is the hinge — that impasto line where warm earth meets cool water, the scrape marks holding real tension. Trees ghostly and light against the dark hill mass, doing exactly what trees should do compositionally: punctuate without competing.