The persistent review and reevaluation of work, mentioned at the close of my last Shadow Line post, plays a large part in my longevity as a creative person. Not allowing myself to become to entrenched in how I value what I’m working on has given me the freedom to explore whatever inspiration draws my fancy. And the sheer regularity of repeating the process, regardless of how I feel at the time, has saved me from many, many creative blocks. Yes, sometimes my enthusiasm for a particular piece is stronger than at others, but building that “relationship” with creativity, one where I show up on a regular basis and participate, regardless of how I think or feel, over time has never let me down.
That said, let’s get back to the sequence.
Whereas the first piece had a background with little variation of tone from left to right, an overall symmetry, and a regular rhythm, for the second piece I was looking to not only have the figure components interact within themselves, as they did in the first piece but have the figures interact more with the background. Where the background would more readily blend or contrast with the figures. Perhaps something a bit more asymmetrical and dramatic, with some implication toward levels of emotional relatedness between the figures.
The initial composition came rather quickly and had no big changes during the process. However, the tonal and chromatic tuning of piece went through quite a bit of deliberation. Where dark? Light here? Where should it be more solid, where more linear? What should the eye first encounter and what should that movement imply? Who are these people? Do they know each other? And if so, how?