These are a few studies from this past week. The Autumn skies are upon us but there has been so much rain they've been hidden.
These two were done under a sky in full bloom, so much so that I decided to ignore the sea below. Now, a friend has informed me that she understood the blue violet at the base of each study to be the sea,... alas, ... Mais Non!
But hey!, it doesn't matter because these studies must stand up in the original architecture of their own abstract conception. In essence, they need to stand on their own, and not from any outside visual bias.
I was happy with them when I finished and began to clean up and pack my things at the beach. It was a magnificent twilight, and I could have kept working but the palette wasn't easy to see nor to differentiate colors. But what a light to behold! Standing at the beach at the end of a short painting session I sometimes I feel like a child walking into a great cathedral for the very first time. In spite of the vaulted ceilings the space seems to go on forever in one's young imagination. And the beach too, only limited by the far ends of the horizon on either side feels limitless. But it does have limits, and the painter himself must create them, define them, through the drawing. This is where one's own sense of abstraction is so vital, but it requires originality. This 'seascape' genre is a rundown motif, like an old whore; used, and abused by generations of painters, and it can rob one of all their noble intentions in front of such magnificence. The lessons are limitless too if one is original. And to be fair, many of my studies are not. But sometimes they reveal something new, and for this reason I come back for more.
But anyway, these are open pictures, that is to say that there is no earthly boundary unlike studies made using the sea at the base of the picture frame. I hope these open up something new for me.
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