(9)
TUES 3 NOV
The mark that excites, that brings the painting to life with its' purity and difference, rivalling the powerful centre. What a red, what a finale! (8). Now a series of shapes of diminishing scale from bottom left to top-right. Black, white and red - the palette of the novel... We're done (9). Looking forward to seeing this painting on the white walls of Linden Hall Studio.
Starting 'BOOK 17' tomorrow - 'Oceans'.
(8)
(7)
MON 2 NOV
A stronger central horizontal that secures the floating black shape into the painting (6): now a mesmeric intersection of lines in sync with the idea behind the painting (7)
(6)
(5)
SUN 1 NOV
Re-drawing and scraping back along the bottom-edge (4). A sense that the painting was too minimal. Whites more complex and varied. Red-dots and black-dots introduced, forming their own movement. A relationship established between the centre-circle and the circle in the top right corner (3). Getting closer (5)
(4)
(3)
(2)
SAT 31 OCT
Working the whites, a large red circle going off the canvas becomes a small red circle (2). The left-side must be a white-wilderness. The drawing has lost a bit of life...
(1)
THURS 29 OCT
White, black, red - the palette of the novel. Working with different whites, different tools, different brands even, to bring complexity to the pure. (1). I would like the white to hurt the eyes...A large red circle next and perhaps a meandering strand of barbed wire...
'The Three Princes' sounds like a Sherlock Holmes story...