I was wondering when we were going to gravitate back towards the middle of the composition. After "First", it seemed like all the rings were skirting the edges as if testing the waters. Brave "Seventh" breaks from the pack and explores The Golden Mean.
That first one was a bit idealistic, wasn't it? And like the years they recollect, those early ones did "skirt" and "test" to a large extent - good words, thanks. I wasn't thinking about the Golden Mean - but am now, thanks again. With this one I was tending more to all of the common associations that go with "seven year."
Ok, so this is my favorite #2. I like how the space seems more shallow (although it is subtle and could be a result of my computer monitor, in which case you can disregard my comment!), almost like it is hanging near a wall. The seven year wall:) We had one of those...
See. Tracy saw it too. I'm learning something here. The edges had more power until this painting. To be truly suspended, we have to put the object inbetween the center and the edge. "First" is almost too close to the middle and the rest were almost too close to the edge. But this one seems inbetween. Like a tide pulled down by the earth and up by the moon.
I had meant for the edgy ones to be more tense somehow - more conflicted - less pleasant. The placement, background gradients and angle of the ring are the variables I've chosen to work with. Each piece here coincides with a year along the way - events within those years to be described with only three things.
I'm still wondering about altering the background color. But now I'm thinking I wouldn't have gotten these responses from you two if I had. You might have focused on the color shifts and missed these subtler things.
8 comments:
I was wondering when we were going to gravitate back towards the middle of the composition. After "First", it seemed like all the rings were skirting the edges as if testing the waters. Brave "Seventh" breaks from the pack and explores The Golden Mean.
That first one was a bit idealistic, wasn't it? And like the years they recollect, those early ones did "skirt" and "test" to a large extent - good words, thanks. I wasn't thinking about the Golden Mean - but am now, thanks again. With this one I was tending more to all of the common associations that go with "seven year."
Ok, so this is my favorite #2. I like how the space seems more shallow (although it is subtle and could be a result of my computer monitor, in which case you can disregard my comment!), almost like it is hanging near a wall. The seven year wall:) We had one of those...
See.
Tracy saw it too.
I'm learning something here.
The edges had more power until this painting. To be truly suspended, we have to put the object inbetween the center and the edge. "First" is almost too close to the middle and the rest were almost too close to the edge. But this one seems inbetween. Like a tide pulled down by the earth and up by the moon.
and, like tracy said,
the background takes over when we loose the edge.
sorry
"lose" the edge
Ahh - thanks for this.
I had meant for the edgy ones to be more tense somehow - more conflicted - less pleasant. The placement, background gradients and angle of the ring are the variables I've chosen to work with. Each piece here coincides with a year along the way - events within those years to be described with only three things.
I'm still wondering about altering the background color. But now I'm thinking I wouldn't have gotten these responses from you two if I had. You might have focused on the color shifts and missed these subtler things.
I'm still wondering about altering the background color. But now I'm thinking I wouldn't have gotten these responses from you two if I had.
Maybe not, but a a color shift has its own story to tell too.
And Steven, I am so glad you corrected "loose". I have never understood why that one word is so commonly misused on the internet.
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