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FRI 26 APRIL

I began to question the green-line angling downwards and ait's starkness. It's now been straightened, darkened, softened. Much more subtle and painterly now, the line having its own interest and yet integrated more into the painting. The final mark a deep transparent purple curve across the blacks at the bottom. We're done.

 

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(8)

 

MON 1 APRIL

With the changes today, this orientation (8) is a revelation - sea becomes sky - and the painting is now something I feel I can walk away from. There is a fabulous relationship between the dancing purple curve and the orange and green. As a portrait (7), the green line became too strong and the new curve didn't seem to make sense, frivolous, almost decorative, bulging away from the dynamic...  

Going back to my original thoughts about heavy purple skies, love the weight and volume and menace of this one, vast and three-dimensional, held and balanced by surging, black water. Image and scale are elusive and ever-changing - sometimes inside the harbour, sometimes outside - adding to the pleasure. A curiosity in my work: entering the painting from the right. Welcome to the storm, we are in it, we can feel and hear it, a painting, I hope, in the spirit of Nolde and Joan Eardley. (made in the safety of the studio!)

 

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 I nearly stopped at (6) but went looking for more drama...

 

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(6)

 

SUN 31 MARCH

I'm coming to terms with the changes (6): less movement but more perhaps more omininous?  Time to fix the green line - I'm missing the clarity of the green line, something is lost in its relationship withe orange. The painting also needs a curve, perhaps a swirling mark across , purple into black. Getting close..

 

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The blacks become too solid a shape in (5) and the blue of the zigzag seems alien. But now I see the zigzag leading the boiling sea through the gap towards the piers belong. We - as viewers - are in the water...

 

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Interesting this way up (4). A shift in scale...does the 'clocktower' on the right makes the waves bigger, the storm stronger?. Below is more about feeling, in the storm rather than observing. Enjoying the role of the structure in both, perhaps more contained above and dangerous and fragile below...

 

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 SAT 30 MARCH

A couple of weeks away from the studio, a blank canvas - it's scary stuff. The studio is a lonely place. It took 'Fisherman's Blues' by The Waterboys to get me going. Three sessions today and progress. The idea of 'storm' - wind, weather, wild sea, menace, weight, movement...

I love those those heavy purple-grey skies so thought I'd take that as a palette. I tend to work with opposites, hence the green backgound, Speedy gestural marks in (1) - looks like a garden! - then a reveal of hidden masking-tape harbour structure (2), before it's overwhelmed in (3).Love the new, central black: Ultramarine Violet and Alizarin Crimson. Looking good.

 

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