This magical spot at Point No Point Resort haunts me, so I tried to infuse the drawing with some of that lingering impression. In spirit I've spent the week back there, as I wanted to communicate the implied, unspoken language of that unique place. I understood the terrain very well, as the sea and I share the joy of stroking minerals smooth. If I was made of salt water (which I guess I am), and had thousands of years to kill (not sure if I do), this is how I would sculpt the basalt cliffs.
I can't help but feel the drawing was conscious of me, even as I sprayed it with fixative.
Pastel and conte on graytone paper, with gouache, black carbon ink block and of course, white gel pen.
This is beautiful. I have been checking to see when you would post the finished art. I also really like what you wrote.
ReplyDeleteThank you, Joyce. It took me awhile, it's been a very busy week or so. I went back and rewrote the journal part two or three times, too. Some things don't come easy!
DeleteWhat a great drawing of a great spot! Once I start looking for faces or partial faces, I can see them everywhere. I had ten at last count, but I only saw one hand...
ReplyDeleteThanks, Roger! I wish we lived closer to it. At least we can go visit those spots in our minds that we portray through our work. You've gone far beyond me in finding faces, you'll have to point them out to me sometime! Ah, yes, the hand....
DeleteAnd the foliage is really nice, too! The trees have a soft, real feel, and the ground cover was probably exactly that bright green.
ReplyDeleteYeah, I had more detail intended in the background trees, but I remembered your beautiful handling of forests in your paintings, and I just let it go. I'm learning so much through your paintings. In all honesty, the ground cover was even more brilliant golden-green, but I didn't want it to overwhelm the muted feel of the stone work.
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