'Penzance 15' 45x50cms
MON 1 MARCH
I recently returned to my 'Penzance' series in 'The Painting Process 4'. The making of the new paintings was recorded on 8 half-hr videos, filmed by my daughter Faye, and posted on YouTube, available to subscribers. These are still available to view for a subscriber fee of £50. Please email and we will send you the links.
Three very different paintings emerged which I'm looking forward to showing together in my exhibition at the Crypt Gallery in St.Ives 29 May - 4 June. There is a wildness and freedom in PZ 15, with colour/water flowing through multiple entrances and exits around the canvas.
detail
A candy-striped beginning before a harbour-shape is forced into the painting, first in line (1) then with poured and smeared liquid-paint. Not happy with the shapes, which seemed to follow the edges of the canvas too uniformly, the painting is transformed by turning it around and allowing the viridian/rose mixes to spread around the canvas before bringing in a new softer shape with rounded corners (4). In the finale, the droopy green was lifted towards the top-right corner, supported by a vibrant orange stripe.
'PENZANCE 14'
'Penzance 14' 50x60cms
The sharpness of the house-shaped innner harbour leads the eye to the harbour entrance...
detail
The harbour entrance, both a barrier and an entrance: paint brushed and cut, poured and smeared...
Finding a shape in Indian Yellow (1). this harbour-painting somehow morphed into an exotic interior (3), before being rescued by working from a new dynamic drawing (4)
'PENZANCE 13'
MON 15 FEB
After a few tinkerings, questions answered, the painting is done, the last act a barely-there horizontal edge of turquoise across the large pink-shape. A tough calI but I decided that the windows in the church in the version below were a distraction, disrupting the flow of colour and the sublime tension of whether the pink paralellogram touches the tower...
5
Love this detail - could be a painting in itself. So does the pink-shape touch?
detail
Four stages of the painting, continuing with the triangular composition that I explored in my recent interpretation of Cezanne's 'The Large Bathers', but here, more dynamic.
For a long time, the drawing was stronger than the painting, but now the painting gives so much more.
