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MON  22 AUG 2022

This morning, I worked more yellows into the top oranges - 'sky' - to find another, softer, stripe. Above is the best solution: straight but curved, a quiet presence, an echo of the brushstroke on the bottom edge and the thin line above. It went back into the studio three times: It is pure instinct - pure painting - why each of the three versions below were rejected. . (3) was close, the top-stripe strong, pressing downwards,  but too attention grabbing and competing with the force of the charging blue brush-mark. My best brushmark ever? Pure knowing. The final version (above) just 'is': sublime colour and twisting, ambiguous space and form., Porthleven as I've never seen it or painted it.

My only doubt - the title! 'Porthleven 48' was also called 'Orange Pier' - still time to change before I write on the back?

This orange/green thing is getting out of hand!


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The big moves were made yesterday, finding Porthleven in the paint. The breakthrough was the loaded cerulean brush mark smashing into the chevron -  like a meteor - the same mark reversed on the bottom-edge, dragged through the orange. There is an exciting motion in this piece, contained - barely - by the strength of the green-line, now open on the right edge. The isolated orange brushmark, originally one of five, is very powerful, now the only vertical. Visually, it seems in the right place. I wish I'd recorded the early stages of the painting: random marks, including black, with a possibility of 'harbour'...


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