blog coherance

chat with John: does my blog lack coherance?  Do the elements have anything to do with the images that arrive?
  I do refer to the list as it goes up on the wall.  The link may not be obvious and I think it very easy to justify post hoc.  I'll just have to trust myself but realise comments like this are really vital.

this is to show another image being build up. There is a pattern and flakes of paint/metal/glass and from that I try to find the next image.  Would this be easier screen printing? the layers?   As the next layer goes on so the pattern underneath can be rediscovered.  The pattern also provides something to "kick" against.

a sequence showing the buildup of the image.  What dominates this image for me is the initial choice of colour. I very rarely use this green and find that with the (initial) cobalt blue that it was too garish and lively but with french ultramarine became more exotic.  As though I was now in a rain forest, not a wet wood in Surrey.  The painting has its own life.  Again when painting this image there is the possibility of discovering what is underneath.  Not very different from walking in a wood in Surrey.

Sounds a bit corny but this is the coal face for me now. Polarities are where the drama lies: death/rebirth, transient/perminent.Patterns: crystaline, leaves, rust, textiles, materials, reflections, patterns of light.and how to get them- repeated marks, the twisting of my body or the holding of tension and music could help.

Cars in a wood: the elements

Leaves: wet decay, carpet/ random, smell of mould.  Decay means life.
Metal: sharp, jagged, uncertain, rust/solidity/smell of oil/ the metal core of the earth. We are the stuff that stars are made of.
Paint: peeling, temporary surface
Rubber: lasting, inflatable
Trees: The rhythm of the wood, the cycle of blanketing with falling timber and leaves and beetles, the sound of broken wood under foot.
The Earth: The uncertainty, the pit, the smell

Icon: The Car-  needs recognition/ personal link/ The ultimate fragility and can be recognised, just as it sinks back into the earth from whence it came and from where we come from.  And the poingnacy of the links that still be imagined.  The Temeraire would have had so much human drama caught up in its woodwork.

A morris 1000 in the woods.

This was later adjusted slightly to avoid the "eyes" look

This was an Austin Healey 3000 in a wood. This is a developing image in oil on canvas