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[1] down stream
[2] lens 1 : tree in landscape [a zooming out] complimentary colors provide the largest structure for the collage/painting. the green canopies oppose and meet the red skies in one moment; the middle section is defined by interlocking and weaving purple and green triangles, sweeping the land in opposite diagonals. This creates lapses between light and shadow, and shapes the land in a way that evokes folding. the elongated shadows of trees give temporal notions to the composition. the elongated shadows and sweep diagonals drag the viewer’s eyes downwardtotheforegroundofsectionofumbrellas.thedialogue between tree and umbrella beings gathers images of cover- ing, collection, shedding, and the two different sounds of rain passing on top of the arc structures of different materials
[3] lens 2 : portrait of a tree [a zooming in] here a discussion of things that etch out the presence of the tree, the betweens, the light-shapes, and the shadow silhouettes, begins to emerge as the view allows for close examination. the central moment of purples passing through yellows, yellows passing through reds, and a whitened and opaque expression of between use the structural foundation of horizontals to express a weaving of light and dark and void and eclipse. the light blue shaped out of reddish ground plays between figure and ground. they are gathered from the smudges of light that flicker through branches and leaves. their empty voids between each other carve two c’s gravitating to create an o
[4] lens 3 : portrait of a branch [a fully zooming in] the image is split on the cusp of a moment when a branch curves and catches the darkest shadow next to brightest light. each slightly bleeds into the other, embracing the rounded geometries and fissuring into flecks of bark. diagonals and shapes of a different dialect flock away in the bottom left corner. these express the beginnings of leaves. warm and cool regions battle, but neither truce nor victory seems close
[5]
layer | additive\subtractive | puzzle
materiality and texture are achieved through five main means: smooth paper, rough and watercolored paper, opaque pieces, overlaying glazes, and found materials. the watercolor paper lends itself to a thickness that is synonymous with the heaviness and opacity of the brightest moments in paint methods that sit foremost in the grounds of picture planes. the glazes of paint and smother papers fall into overlapping and overlaying techniques of depth.
“Cutting into color reminds me of the sculptor’s direct carving.”
details of structure [ fully zoomed in]
details /from left to right\
[1] woven ground emulates shifting light and shadow
[2] trees vertically seam the fields of sky to ground
[3] transparencies mark the space with an ordered depth
[4] weaving between sky and trunk
[5] the passage and movements of light are captured. small betweens of leaves and branches pass behind a trunk to re-emerg- ing as a shell encasing a trunk’s torso
[6] the strong place of light is constructed with the layering and joining of rips of paper; a shadowy patch of blue marks the strong horizontal. their re- sultant joint of marks of collected phenomena versus their deconstruction as they pass to the right edge
[7] collisions of light and shadow; here light carves the spaces of dark
[8] the merging of branch and leaf phenomena
[9] shadow bleeds into light; the darkness has particular rhythmic placement and range is shape size ; here shadow seems to carve and hold the space of light
