This is the palest-green butterfly that flew in to the house one evening last summer and was caught under a wineglass before being released back outside. I love the way the insect floats, seemingly unsupported, but I don't know yet how I will use it.
To go with the butterfly I'll need a sample of handwriting, which will be disguised so most words cannot be read.
Some architecture, or maybe part of a map?
Background colour.
Or maybe toss all that and go with flowers and a fragment of handwritten poem or a letter?
While I am combining the visual pieces, their meanings also come together in a narrative which determines subsequent choices and also what part of each image will be obscured. It tells me which words should be legible, and the title. Nothing of this is recorded, because I think each viewer develops their own relationship with a picture, and knowing the artist's ideas is not necessary.
With all the parts chosen I sit down to make sketches until the pieces knit together, then it's finally time to start painting.
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4 comments:
it is possible to 'think' too much . .I should read some of Picasso's methods . . .find out as you progress . . .
I agree, for me as the picture starts to develop it begins to drive its own further development, if that makes any sense.
Wow, what an interesting method! I wish I were better at mixed media. Your work is lovely.
Thank you, I always wonder how other people compose their pieces so I thought I would think out loud, so to speak, while doing this one. So far this one is just painted (I've just finished the first layers), but it may become mixed media towards the end.
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