Chronicle Of Shadows

I was just strolling around when the shadows from trees caught my attention.

It wasn't even late in the afternoon, yet the shadows were long and interesting.  Intrigued was I.

I finally figured out that I was on the high point of a slope, thus the shadows were casted against the incline, as if it was a cinema screen.  I perceived a strong composition of patterns.  A lattice work of bright and dark, and nothing else.  I wanted to see if I could translate that onto paper.

I chose the raw Xuan as my paper, I thought I could more faithfully record my brushstrokes.  Using the green I had left over on my color dish, I carved out the path that I was on, and tried to describe the slope.

Yes that would work, I uttered to myself.  But it was missing something.  Too realistic perhaps?

I proceeded to simplify things by eliminating certain data points.  I also changed paper.  I used the semi-sized Xuan now.  I thought shape trumps brushstroke details in this case.

All of a sudden the personality changed.  It no longer resembled a photograph.  It was less cluttered  and allowed the viewer to fill in the pieces.  The painting was actually more verbal with less words.

I liked the way I depicted the background, so I wanted to explore further by giving it more structure in the form of more distinct brushstrokes.  I wanted to see if the lines left by the bristles could add to the strong lines presented by the trees.

I was paying more attention to my brushstrokes with the trees now.  I told myself that I was writing and not painting;  all the time being acutely aware of center tip and side tip.  Center tip for the "bone" structure and side tip for the "pose".

I also painted in a wash to help gather the tree shadows, to offer them a stronger directional feel, emerging from yonder and spreading wide pass the viewer.

What would happen if the background was less rigid?  If I used only a scant side tip sweep?

I must had been over-consumed with these thoughts of brush strokes, whether the shadows ( and the branches for that matter) should assume variations in ink tones, if the treatment of the negative space was correct etc that I began to resent the work.  It wasn't my style to paint the same painting repeatedly.  I get bored very easily.  That showed in this attempt.  There really wasn't anything to like in  that painting, and the brushstrokes were especially horrid.

I was actually vacillating between  whether this should be a painting or a wood cut.  I initially thought my first attempt was too "photo" like and was missing that je ne sais quoi quality of a painting. The more I looked at it now, the more I am convinced that this should have been a print, or some sort of a graphic design rather than a painting.  I was beginning to waver about what this piece of work should look like and what my heading should be.  I lost my bearing.

After a few days rest, after my turmoil had subsided just a tad, I tried one more time at this.

I changed the perspective by ridding the vast bottom void space and allow the muted slope line to divide the frame.  I also did away with the shadows, which were my focal point to begin with.  I un-invited my guests of honor. 

I shall digest this for a few days and see what shall come next.