cross threads and evolution

from my sketchbook

 My stillifes have made several attempts at evolving.  At first the series tried to break away with highly-textured pointillist backgrounds and then when the thread slackened as on the pear when it sank to rest on a surface.  They also stretched in size until the background seemed to engulf the object - heightening the sense of loneliness and separation.  Now, they seem to be asking for more connectivity.  The thread that suspended the object is popping up elsewhere in the composition.  Is there still room for contemplation while at the same time opening up the space for a sense of community engagement - weaving in past and present histories - creating a patch that will fit into our cultural fabric?  Are they still dominated by a sense of gravity or have the cross threads woven a new perspective?  And is that alright? 

The idea on top was drawn in bed without my contact lenses (I'm extremely near-sighted) so initially it took on a slant upwards and to the left. The triangle in the lower left was added on Sunday morning to balance things out.  This inspired the next little sketch.

It's time now to work things out further - in color and larger - and with thought to what my stillifes series now conveys.  Watercolor presents itself - on heavy textured paper and with saturated hues - except for where the threads lie - those lines will be left bare - preserving the nature of the white cotton paper.

Edit (June 4, 2013): Below is the first watercolor that sprang from the thoughts above.  It was done on a fourth of a large-heavy-textured sheet of Arches watercolor paper (that I've had stored in my studio for over 10 years!) so there are only two deckled edges.  I'm going to look into their 20" x 16" paper with all edges deckled.  I'd also like to see how hot pressed, cold pressed and textured paper relate to the new direction these pieces are taking.

vessel study on cold-pressed Arches w/c paper; 12" x 10"

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