Bifurcations With Red, Blue and Yellow
oil on canvas, 24”x48"
@joshmillard image described: a canvas in portrait setting. the upper half is red. below that we have a third of the canvas split between blue and yellow.
below that we have a third of what's left: blue splits into red and yellow, yellow splits into blue and red.
the pattern continues splitting and shrinking, with the last row being very small indeed of numerous blue-yellow-red-blue-yellow-red squares.
I don't know the name for the oil work technique, but the brush strokes are cool looking.
@joshmillard (I really like writing image descriptions for your work!!!)
@t54r4n1 I enjoy reading them! My stuff tends to be so structural and process-based that I feel like it lends itself more than most paintings to a coherent formal description, so it's fun to see that in action.
I have thought at times about getting very verbose with the actual titles of this stuff, title-as-description, but that's sort of inherently obnoxious and I don't feel strongly enough about it to yet choose to BE that obnoxious with most work. But I like the spirit of it.
@joshmillard @t54r4n1 This made me think of a couple related things proposing that such descriptions are themselves art:
1. some of Sol LeWitt's "wall drawings", which in a sense only exist as formal descriptions
2. Caroline Shaw's "Passacaglia," apparently inspired by the same; see about 2:30 in https://www.youtube.com/watch?v=BiKCuNH1rC4
no bigger point, really, it just pleases me to connect these things up
@valrus @t54r4n1 Yes! LeWitt's whole approach to concept and method and description has been a big inspiration for me as well; the notion of getting very formally descriptive or work in the title of the work is something of been chewing on largely because of his wall drawing pieces.
Wasn't familiar with Shaw and that's absolutely wonderful. If I'd tripped across that without warning I'd have absolutely yelped at the reference.
@t54r4n1 I don't know if there's any name for this brush technique either; I'm just painting inward toward the center of each square with a flat ("bright") brush in a radial fashion, dragging color in smaller consecutive rings of short flat inward-moving strokes until reaching the center of the region.
The resulting textured coloration, esp. in the blue, has as much mottled character as it does because where the strokes start I scrape the paint thinner, leaving more white canvas shining thru.
@t54r4n1 It's most obvious with the blue because the darker value of the blue allows more contrast between the thick regions of paint (the darkest blues where the light is bouncing mostly off dark blue pigment in the substance of the paint itself) and the thin-scraped bits (much lighter because the transparent nature of the paint allows a lot of light to pass through, reflect off the bright white gesso surface of the canvas, and bounce back out through the blue paint again).
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