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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'.

 

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 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)

 

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(6)

 

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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)

 

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(4)

 

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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...

 

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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...