07 June 2020

colour shaded only in the Divine

As I dive deeper into musical harmony by making my way through the RealBook I see more clearly the essential relationships between Painting and Music. I also begin to familiarise myself with flatted 9ths, 5ths, suspended 4ths, etc, etc. I marvel out how chords meld into one another in the same way which colours do in a painting. They always push towards an eventual resolution. 

I have listened to so many different kinds of  music in my life, and it has formed my sensibility over time just as the sheer volume of painting I have looked at, has given me a visual foundation.

Over the years my interest with the painting surface has grown. How colours interact with one another on a unified surface is one of those essential elements. Simply put, this is basically how colours are placed next to one another on a unified picture plane. How do colours clash, or give compliment in a Painting? Isn't it what helps to give a picture its vitality? A poor connection between colours means a poor connection between planes, and thus resulting in a weak painting. And so it is, too, with almost all musical harmony. It seems to me that it should appear effortless even if a life has been shed for it.

I use my own pictures as examples, they are to be judged after all. (Money where your mouth is, so they say) They are mostly from this past year except for the last two which were done at the very beginning of the series  three years ago. I approached the project after a long while of working in the studio which is apparent because there is more of 'me' in them, and less Motif than the newer ones.

These are all of the sea and sky. But mostly they are about the sky which is essentially about painting air in fact. There is no material, no handles onto which to grab; no branches, no bricks, no ears, nor noses! 

It's colour shaded only in the Divine; it's a luminous hue embalmed in the scent of the palest perfume of light. 

And yet, these elements of the picture plane must be joined and reconciled to make up the whole image. The flat 5ths and flat 9ths which transition from one colour to the next should resolve any dissonance in the viewer's mind at the end. 

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