Well, as you can see, I have been continuing on with the series of works devoted to the centred circle motif. For these three pieces I went with a lighter tone of blue for the background, and a subtler texture, by way of using finer sea salt with the watercolour.
The circles, cut from paper primed with sand texture, and poured onto with various acrylic colours, you will notice are slightly smaller than the black circle onto which they are glued. This is for practical reasons, and I think it gives the added effect that one is peering into a portal. The segments cut out of the circles I see as suggestions of euclidean space in three dimensions, and as relevant in two dimensions as quantities, judgments, or phases in a cycle which contains its own novel feeling, atmosphere, or mood.
We use the term “sync” a lot these days, and maybe the third piece could be seen being “out of sync”. Two dimensions, or entities co-existing, but not resonating, perhaps.
I’ve been exploring ideas for scaling down the size of my work. This is in-keeping with my kind of bohemian minimalist philosophy. I live and work in my little flat, and thus, the need to maximise space. I believe in tailoring my art to my living circumstances, and allowing them to be the constraints which inform my processes.
It’s early July, which in New Zealand is the middle of winter, which for someone with rheumatoid arthritis, makes productivity difficult. I can’t get away with straining my hands to paint finnicky details, and my window for doing art is from about 11am until about 3pm, with 1pm until 2:30pm being the best time. My work space is north-facing, which means it can actually get quite warm on a sunny winter day.
Needing an approach which requires less hand strain, I have reverted to my graphic design training, where I learnt that less is more, and to “Keep It Simple Stupid”.
The technique I’ve been using involves building up layers of watercolour onto which salt crystals have been evenly applied.
I have been beginning with Sap Green, and adding a little Pthalo Blue for each successive layer. After about five layers, for this piece, I have chosen to draw a simple circle in the centre, and to paint it white:
I intend to continue this approach with the circle motif, and then begin to experiment with other shapes and colour combinations in the future.