Something similar and related, but (1) far less successful, (2) Acrylic and gouache (weird, right? Like, why, what was the point. Well, I was trying a specific idea out, but the product didn’t really accord with the vision I’d had in mind. A lesson, then: don’t let your hand be motivated by fear or uncertainty; you’ll make all the wrong decisions), and (3) most importantly, a specific place, towards which I have great ambivalence.
The colours here contain a specific pallette I recall from Irvine, especially on rainy days, or just after the rain. The softest vibrancy of colluding/colliding pinks and oranges submerged and muted under wet blanket weather. The stupid plainness of concrete does best in this weather: Gray gains depth from being wet, things glimmer, leaves and tree trunks gain new color, underlined by the soft grayness of the weather. (Strange that such a colourless place gained so much colour from gray weather.)
The strange collusion of a few blue Grays and middling pinks…
Professor Dubovsky noted that there are suggestions of something: Houses, and a watery (too watery, that was a mistake in fact) body.
In short: this piece is full of mistakes. But the main idea is a conflict of romanticization and ambivalence towards past and place.
In short: this piece is full of mistakes. But the main idea is a conflict of romanticization and ambivalence towards past and place.
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