Shadow Line Sequence (Part 1)

After the more design oriented iPad influenced images (see Walking Wave tab, Composition 252 thru 254) from the end of 2013, I wanted to move toward images lower in chroma and higher in texture.
The first idea was to produce a background such that, when the figures were placed, they would interact with it and generate additional random texture, while at the same time, not becoming so random that the effect would draw the eye. After some trials, I settled for a simple repeating dark horizontal on white.

Comp-256-Background-Detail

Next I imagined the figures as being composed of multiple components, each of varying degrees of transparency and clarity, incorporating the repeating horizontal line as an integrating and randomizing component.

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Some intermediate stages follow:

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When complete, I found the combining of varied images and juxtaposition of horizontal lines satisfying. Composition 256 had a fresh relaxed quality, an openness and balance that I liked. However, upon reflection, though I was happy with the technique, I wanted to push it further. Perhaps give it a bit more drama.

022214g-Comp-256-Working-3

Composition 256

This is often how sequences within my work get started. I get an idea. It works. I push it further. And if it works still, push it again. Typically at some point, after a few efforts, the idea is no longer interesting and I want to try something different.

Sometimes the technique does not inspire additional pieces and I put it aside, a freestanding anomaly. Then, as often happens, months later while reviewing, I find I like it, it has that special something, and it springboards new work. That new work can be something as simple as making a copy (the advantages of working digitally) and fine tuning it into a stronger work, or using it as a point of departure for something completely different.

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