"Writing of Light" Paintings, 5
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In this painting, I reached a turning point. I found a method of closing in the background and using systems of lines of different weight and darkness to create space that is a complete contradiction: It is full of movement, and yet, if you concentrate on the edges there is also the effect of static, hard, flat stone. The edges in this, and the following, paintings are critical, as follows: It is very difficult, with a highly detailed painting like this, to give the sense that the edge of the painting is a straight line - the detail causes the edge to waiver quite strongly, and the tension to vary along the edge. My concern was to counter this in the extreme: to develop techniques so that the edge would gain an enormous fierce straightness - as if it were cut by one of those massive rotary saws that cuts through stone. Unfortunately, the image-compression used in the digital photograph below actually introduces curvature based on the surrounding colors, i.e., actually reverses the very result I achieved. In the orignal painting however, the incisive straightness is very powerful, and people find the effect quite shocking.
I should also say that these digital images are very destructive on the colors of the original paintings, and blur, and wash out, many of the lines. I will discuss these paintings as if the reader is viewing high-quality photographs. Such a photograph requires a file size 400 times that used here - and is therefore currently prohibitive. In writing this text, I am assuming that, in a couple of years, the technology would easily allow the use of such images - and that the reader is now viewing those images rather than those that have been temporarily provided here.
Email address: MLeyton@msn.com