Part 5, Assignment 5 – painting and print #2

Two Tents.

These are in the garden filled with the other half of my studio contents, waiting for their new home to be completed. So far, they’ve withstood some serious winds and torrential downpours with only a slight shift in position after one storm, and some developing mould on a few items that can easily be washed down.

As before, I’ve used A2 cartridge primed with white primer and then gloss varnish, and tried to retain the simplicity of the first painting and its companion print. The palette is slightly different, reflecting the colours of the tents, but the framing structures are the same.

Acrylic paints – Hooker green, Prussian blue hue, Cad. red, T. white, Payne’s grey, and T. buff. The lines are made with a fineliner which I’m finding doesn’t stand up well to this kind of context. Text is from the I Ching opened at a random page.
This is the companion fold print which, to me, has a more attractive sparseness to it. The text is from the Tao Te Ching taken from a numbered reading approximately one fourth of the numbered I Ching reading.

Again this is an abstraction but with some sense of a representative anchor. The vertical lines to the right of the painting and beneath the tents reflect the lines of the I Ching hexagram – solid, broken, broken; solid, solid, broken. The triangular shapes represent foliage. Paint was applied using a palette knife and my fingers.

Whatever else, you have to be struck by the paired lines, ‘Deeply subsistent; I don’t know whose child it is.’

I’m intending to work a few more of these as a small series, and then either repeat the methods with a better eye and clearer sense of what’s important in the images, or consider a different method to make a different set of impressions.

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