My day off from the Red Barn and the Big Honking Painting worked wonders.
The middle three panels, 3, 4 & 5, were the least defined — in my head as well as by my hand. A couple of people dropped by today, which was quite pleasant. While John and his dog Dream sat and told me stories and slept (Dream, that is), I painted. And when John asked me what I had in mind for the central panel # 4, the answer popped out before I consciously knew what it was. And it was the right answer.
After he left, I also saw what had begun to happen in panel #5, right next to the central #4, and realized I could mirror image it, with different color and temperature on #3. So the central panel 4 would be sandwiched by somewhat mirroring images on 3 and 5.
Here they are, as they appeared about 3 PM this afternoon:
Linene Panel #3, November 19, 2009 9 (left/east side of center)
Linen Panel #4, November 19, 2009 (central panel)
Linen Panel #5, November 19, 2009 (right/west side of center)
What I realized is that the central panel, #4, should show that moment in the desert day when everything is suspended, nothing moves, the world is held, silent and waiting. Panels 3 and 5 then could move, directional. So I worked color to make foreground diagonals from right to left on panel 3 and from left to right on panel 5. This pulls the three panels apart in some ways, working like a variation of linear perspective but with color rather than line. And these diagonals are interrupted by the central suspension. The colors on the right, toward the west, are lemony and those on the right, toward the east, are rosy, but they both are lighter than the surrounding desert greens and browns and grays.
More needs to be done (always) but at last I have a clear sense of each 4 x 5 panel and what I’m hoping to have it evoke. Now all I have to do is keep painting until I get where I want to go.
There are a few dozen other changes and tweaks and twiddles that need doing, but they will happen, I hope, within the next two weeks.
Reporting from the Goldwell house in Beatty, Nevada.
juneunderwood.com 
4 responses to “Breakthrough: Nov. 19, 2009”
There’s something about the center panel that always catches my attention, is a favorite for some reason. Or maybe it’s that it doesn’t ask for a lot of attention that is appealing. It does have a calmness without being boring. What you’ve discovered about the panels on either side make perfect sense. Isn’t that always the way – the of course, why didn’t I see that earlier?
There’s something about the center panel that always catches my attention, is a favorite for some reason. Or maybe it’s that it doesn’t ask for a lot of attention that is appealing. It does have a calmness without being boring. What you’ve discovered about the panels on either side make perfect sense. Isn’t that always the way – the of course, why didn’t I see that earlier?
I can’t believe you responded so quickly. I posted this about ten minutes ago. Thanks for the affirmation. The photos aren’t as good as the paintings (thank heavens) and now that I know where I’m going, perhaps I won’t meander about quite so much. Good to hear from you.
I can’t believe you responded so quickly. I posted this about ten minutes ago. Thanks for the affirmation. The photos aren’t as good as the paintings (thank heavens) and now that I know where I’m going, perhaps I won’t meander about quite so much. Good to hear from you.