Building on the earlier sketches, I’ve begun making larger paintings using the same initial images and extracts from the I Ching and Tao Te Ching. I mistakenly chose a different page from the latter, thereby adding a further layer of randomisation.
The hexagon of the I Ching is formed by the three lines – continuous/broken/continuous – in the white central area at the top of the painting, and in the pyramid shape beneath it. The text is selected from that configuration. Media are acrylics (T. buff, Payne’s grey, and Cad. red hue) applied with a palette knife, and fineliner 0.4.
I have stylised the foliage using triangulating lines, and rendered the whole in head-on flat perspective to simplify the imagery.This is the fold print. I have roughly replicated the lines but while I would like to claim artist intent in the fan shape on the left, this was made necessary by some enthusiastic nudging from my cat on the table next to the easel. This may be some way towards my tutor’s suggestion of a collaboration with my cats who, at present, have quite a lot of influence over my practice! I do quite approve even though it’s more Japan than China.
These details show something of the effect of the more sparse application of media via the print process.
I like both of these this time. I find the palette appealing and the simplicity somehow peaceful. I do need to have a discussion with myself about the level of abstraction here and whether there is sufficient retention of a representational element to give viewers a clue as to what’s going on. I suspect there may not be. Animations may follow as updates to this post.
At present, I’m seeing these two paintings as preparatory but, as in a previous section of this module, they may become part of the submission. The next set will have its own post – A2 painting #2.
Strayfish Arts 
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