Realizing that the process of painting could take an unexpected turn down the line, I figured that as long as the basic infrastructure was there the rest might somehow hang in place. Another consideration is that the sketch is monochrome, and not wanting to lose the structure of the drawing in a sea of color, I have been careful to keep my color choices toned down. The palette at this point, is essentially primary: transparent orange ochre, scarlet red lake, cobalt blue, lemon yellow, ivory black and titanium white. Starting with a grey toned ground, the under-drawing however, was done with paint pens in a few colors. I started this way in order to give myself a direct link to the original drawing method. Using multiple colors, mostly neutrals, I was able to set up some initial depth as well.
In concept, the work is still an experiment. It's an attempt to see how one of my more spontaneous practices translates into a longer studio painting. It's an observation of an expanse of time, maybe illustrated. It's specific form, but seen briefly, and then more. Lather, rinse, repeat. As I near completion on this piece, I wonder what will survive of the initial joy of the moment or if, as in other works, the nature of the paint itself will become too seductive. I'll take my cues from the cubists on this one. See shallow forms, observe edges, resist extravagant color; document space rather than illustrate.