|'Porthleven 27' 180cms x 60cms|
Far, far stronger now - it's done. The verticality of the painting is reinforced by the stacked and levered curves and the long vertical line on the right, cutting through the paint. Much more movement. Poured pinks and purples shake up the colour, setting off the greens. The canvas divide is now integral, linking to the higher horizontal of the green pier.
In a discussion about the painting, Janie M McDonald, commentated on how the green curve coming in from the left and the reverse curve of the purple made the painting appear 'hinged', 'with the possibility of flipping' where they join, as if the orange strip could flick backwards and forwards 'over and over as an animation..'
|in the studio|
I've been struggling with the shape and scale of this piece for the past few days, at 180 cms the largest painting yet in the Porthleven series. I feel I'm getting closer with the colour and harbour-shape (4) There is greater clarity but it's looking a bit too controlled. Much has been lost: the sea has gone backwards, the red/orange is too flat and the bottom panel feels a little disconnected. I have in mind a fat, off vertical line of force- a slightly paler turquoise with streaks of pink- that runs from top to bottom of the canvas, crashing through the gaps between the piers. It will bring life/light/movement if I get it right. I'll be re-drawing tomorrow and cutting/scraping through the paint to bring out the hidden colours and energise the surface.