Last night Jer and I stretched the Amargosa Playa canvas onto the frame and I started in on it — again. Here’s what it looked like before I started at it:The upper half of the canvas caught the light from the upper windows in the studio, so it wasn’t quite as light as the photo makes it look.
But that’s irrelevant, since here is how it looks now:
It’s looking less and less like a desert and more and more like, well, like the sea? Like a vision of mountains above fog? Regardless, I felt Emily Carr’s presence.
Speaking of whom, here’s the collation of the last Carr copies that I did. On the left is a poor print of an original Carr painting, in the middle is my copy, and on the right is the painting I did without looking at either the print of the original or the copy I had made.
Here’s the last one, presented by itself: if nothing else, this is good exercise for visual memory, of which I have very little.
The paintings will be overpainted; the bad prints saved as momentos, along with computer images of the painted copies, in a special file. And so on to the next Carr. The real question is, can June channel Emily Carr channeling the Nevada desert and have it make sense?
I just uploaded a post to the blog Art and Perception which explores the questions about the artist’s voice and varying styles more generally. Check it out.