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Pushing this painting further has paid off. A conversation with artist Jane Crane about the angled line lon the right led to the introduction of a horizontal line, bringing a new tautness and tension to the composition, an element counteracting, tugging against, the weight of shape, paint and colour that tilts to the right.

Freedom...and control. 


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There was a kind of pressure to make 'Porthleven 50' a landmark painting and I feel I have achieved that with the five decisive actions in the session this morning. First was a long straight line of shifting colour, to give direction and control to the organic marks, followed by a large black dot to strengthen the two intersecting lines and define the harbour entrance.

Next I simplified the left-side, flattening the colour which made the yellow central vertical pop out even more. Then I brought in a new stronger orange mix towards the top - based on the juggernaut Old Holland Cadmium Orange- slightly lighter in tone which reinforced the weight of the shape.  The final mark was a small, sharp horizontal of Brilliant Rose - towards the bottom of the left corner - to switch the direction of the eye. 


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Looking for weight of shape...to become my harbour...

The emerging orange mass is now stronger and clearer (above), the left-side described by a cascade of varied marks of ripped and scraped paint and punchy colour. (detail 1). A new sheet of a liquid Indian Red/Cadmium Yellow mix across its centre adds weight and complexity. Overall, the colour is a little muddy - looking forward to mixing new greens and oranges and bringing more light to the left-edge. 


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