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The Supremacy of Line, 2.







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Something that distinguishes this first series of paintings from the later two series, is that I purposely did some paintings based on the style of other artists, in order to examine more closely their use of line. Here for example, I imitated Picasso. I did not do any such imitations in the subsequent series.

Because the second and third series develop a set of new techniques for integrating line with the canvas plane, I will introduce here one of the basic rules I use: A finished painting must work equally in all four orientations. In order to achieve this, I rotate the canvas by 90 degrees every few minutes throughout the entire painting process - e.g., for an entire 12 hour painting session. This has an extraordinary effect on the final painting. First of all, the painting reaches completion simultaneously in all four orientations. And most importantly, in any single orientation, the painting has a powerful tension that is equally distributed across the entire surface; i.e., like a stretched drumskin. Continually rotating the canvas during the painting process ensures that, in any single orientation, the tension is not skewed in any way. Also, it ensures that it never matters which orientation you view the final painting in. Each orientation gives a complete work in its own right. You get four paintings for the price of one!




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