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BOOK 11: Re-visited Nov/Dec

Always an awkwardness with the relationship between the central red-shape and the larger lozenge red/orange shapes - a suspicion of images crowbarred into the painting. I took them all out to bring emphasis to the design of curves and the sparseness and palette of the (written) landscape that inspired the painting.


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A revisit: intensifying the reds in the central shape and introducing a tiny yellow cross, marking the location of the climax of the novel and bringing a point of focus to the painting...


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Yellows poured and scraped and knifed onto the left side, set off by the tumbling purple curves, a roller-coaster ride to the bottom-right corner. Deeper into painting: ideas introduced, manipulated, discarded, finding out what is important to the piece. At first view, it's colour and shapes, surface and rhythms of curves, controlled by horizontals and the canvas-divide. But the desert-palette is specific to the source novel, with disguised imagery and location locked into the composition. There's a new transparency to the paint, with more taking off than usual and a boldness and delicacy in the marks.

Time to walk away and enjoy...


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That's better- a large swipe (and wipe) of transparent red from bottom right to top left has created a simplification and unity, its edge linking to the scarlet lines.


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A good session trying out ideas, location and image.  It's got a little busy with too much narrative - I don't think the dark 'building' belongs in the painting. I am enjoying the drawn double 's', abstracted from a key image. It needs to be more prominent.


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Crossing continents in many ways...a psychopathic gunman, good versus evil & Biblical references - a great book to work from...

Reds and orange leftovers from 'BOOK 12 - (Heat)', surrounded by washes of Indian Yellow and Transparent Oxide Yellow and spots of a dense Red/Green mix, one more red, one more green.