In pursuit of enlightenment

Despite yesterday's revelations (which I fully intend to pursue today) I continued experimenting; here's one of two small pieces I'm working on that involve pouring overlapping colors.

I'm still in what (if I were an artist in the calibre of Picasso) might in time be referred to as my White Period -- and I'm still not quite clear if this is the sort of balance I've always preferred, or if it's a recent phenomenon. It's certainly recent for me to have figured out I could do it in my own work, but how long have I preferred it in the work of other artists, and why?

But enough navel-gazing; suffice it to say it's a way of infusing light into my paintings -- and into my life, for that matter -- which is why I continue to indulge the impulse.

Back to this particular painting, I found myself dreaming of it off and on all night, and in my dreams I solved the awkwardness of that continuing orange line by putting the painting on the floor and hanging the brush from a string and dragging it over the painting, in hopes that the line would somehow be smoother and more organic.

Thinking about that solution now, I'm not totally convinced it would work, but it would certainly be worth experimenting... and isn't a lot of what all of us are doing right now a bit experimental? We are learning what we're capable of, what we need, what we can do without... it's all pretty enlightening.

Learnings: Pouring is messy.
                  The results are boring if you don't help them along
                   Small canvases are not conducive to gestural integrity.
                   The white lines are fun, but mostly too fine.