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Here's a dilemma... portrait is more ambiguous, more about colour and line and the idea of harbour, whereas the landscape-format is closer to place, image more prominent, the yellows implying the swell of water curving upwards on the left-side. Back to portrait, and slipway becomes a triangle, pointing upwards to a near square, the eye continuing a clockwise journey around the painting, the tension of a fragile frame, barely containing the weight of yellows ...

What is real? Blue stripe or strip of sea? It can be either or both, the frisson of possibility that runs through my work. But more importantly, the cobalt line belongs in the painting, bringing in vitality and difference. We can, and are, enjoying the painting both ways...


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 This is the buzz with painting; taking an intuitive leap that risks all and brings completion, joy and surprise. I feel lucky.



Painting in my sleep again...thoughts of blue...it had to be Cobalt (with a touch of Viridian) - it looks sensational with the Raw Sienna. Late yesterday, I introduced Lemon and reworked the  internal yellows, particularly around the curved bulge in the bottom right, picking up the green underneath. There is a solidity about that section now, held by the blue line....We're done.


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HARBOUR: structure and movement, solidity and liquidity. The idea of 'harbour': enclosure, entrance, like a vase...



A shift in orientation. A higher-key yellow adds weight to the centre and pushes the 'frame' to the canvas edge, reinforced with a heavy smeared line. Sitting good. Now there is more space, strength of colour, clarity and a delicacy with the new drawing - a harbour has been found. Nearly there...(4)


The painting began with a Raw-Sienna/yellow stain, a new colour- a Light Green/Magenta mix, adding weight and contrast - and a slash of masking-tape. (1). Too many same-size elements: the painting is simplified with a flood of a liquid three yellow mix (2). Now there are too many entrances! This is resolved with a chunky sweeping mark in the bottom right, simplifying the composition, taking the eye upwards. (3) Now there is an internal frame, with a movement between the four elements. Love the colour hum in the top-left corner and the hidden strength and precision of the revealed line when the masking tape was removed.  This beautiful mark is the unexpected - let's build around it (below)


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