This one was scraped off.
As Gephart referred to Bush, it was a "MISERABLE FAILURE"!
I'm poking around for a way into the next two paintings, both 48"x44". I'm working on paper to figure it out. The trouble with this is that the paper surface is smooth and the linen surface is like sandpaper. 220 grit.
So whatever I do in paper is a distraction from the bigger panels.
(grunt)
What I am doing on paper is thinking about drawing and painting. I went to the Dallas Museum of Art this afternoon with Stephanie to look at their Mondriaans (that's how he signed his early paintings), and Dubuffets among others. All I saw was drawing over painting, and painting over drawing. It's nice to walk to the museum when you need a shot in the eye once in a while.
The work on paper (wop for short) above was errant in a goofy sloppiness. Every mark made was spinning out of the frame. Here's its' successor in progress:
I like to think that these paintings are all about a high level of control per square inch/centimeter. I look at the whole surface, looking for intention and editing out or over any lack of intention. Here's something I've come across in the book I'm reading (Albus quoting Panofsky):
Jan van Eyck evolved a technique so ineffably minute that the number of details comprised by the total form approaches infinity. This technique achieves homogeneity in all visible forms as calculus achieves continuity in all numerical quantities. That which is tiny in terms of measurable magnitude yet is large as a product of the infinitesimally small; that which is sizable in terms of measurable magnitude yet is small as a fraction of the infinitely large."
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