2, 5, 6, 8 and 11 stand out for me. 8 and 11 are especially arresting. They have that strange red I have come to recognize from yours and Leslie's decaying lotus leaves. I see how these strange forms in collapse can be bewitching. 6 is beautiful in light and gesture, a difficult subject to get the sharpness it seems to want. I have certainly tried and failed in low light and light breeze. The crystalline outline, the long sinuous form, the simple diagonal. Back to the field again.
I love the first one best. So characteristic of when you walk in, yet such a creative vision of what to do with what you see. That is one of the things that keeps me learning from your work.
Maybe surprisingly I love the colors in #11, especially the muted red of the lotus leaf. The appeal of #l for me is the network of fine leaves, branches and delicate flowers which is then interrupted by the decidedly bold large brown leaf.
2, 5, 6, 8 and 11 stand out for me. 8 and 11 are especially arresting. They have that strange red I have come to recognize from yours and Leslie's decaying lotus leaves. I see how these strange forms in collapse can be bewitching. 6 is beautiful in light and gesture, a difficult subject to get the sharpness it seems to want. I have certainly tried and failed in low light and light breeze. The crystalline outline, the long sinuous form, the simple diagonal. Back to the field again.
ReplyDeleteI love the first one best. So characteristic of when you walk in, yet such a creative vision of what to do with what you see. That is one of the things that keeps me learning from your work.
ReplyDeleteMaybe surprisingly I love the colors in #11, especially the muted red of the lotus leaf. The appeal of #l for me is the network of fine leaves, branches and delicate flowers which is then interrupted by the decidedly bold large brown leaf.
ReplyDelete