Holding Sway

Notes taken directly from my reflection journal, uncut and unedited:

I really enjoyed the translucent layering (glazing) in the lower left side of the last piece and so this photo highlighted the potential for this type of layering making it a perfect choice for the second of the series. Learning, or re learning oil paint works best wet into wet at least for making the lighter, less distinct, elongated shadows such as those, again, on the lower left. This view had similar amount of spiral wire which tends to reveal form and in contrast to the elongated shadows suggest the illusion of depth. Once an illusion of depth is suggested I then can begin to deny and begin the hue and value ‘invasions’ and play with translucent layering (using Linseed oil instead of Liquin in order to achieve cleaner/clearer luminance).

Plan for this series:

• Paint / treat the raw canvas with the same latex paint used to paint the walls of Duke Gallery for my thesis show.
• Leave some areas untouched for variety of sheen
• Experiment with translucent layering
• create zones to reveal the actual layering of shadows which existed in reality
• paint ‘invasions’ from zone to zone
• paint one ‘zip’ of color at the edge of a shadow using a color not found anywhere else such as the lime green around the ovular shadow in the mid left hand third
• to make the canvas color advance in the negative spaces of the actual sculpture areas (sky thru the leaves effect)
• to unify multiple shadows and actual sculpture with translucent layers of hues or values from other zones to balance or unify.
• To use the actual bent coils and spiral wires of the sculpture as a way to convey or highlight the rhythm and movement evidenced in the actual piece.