When I had initially decided to put this sequence together, I had made some rough studies combining a few chosen figures into some tentative compositions. During the process of putting the pieces together, neither of the first two strayed far from their respective studies.
Composition 258 Initial Studies:
That was not the case for the third piece.
One individual figure chosen for composition 258 I found interesting on it’s own and decided once this sequence was finished, I’d put together a one figure image (composition 259) employing techniques I’d used in images around the 230 number range. The idea being that after the relatively complicated approaches employed in the shadow sequence, putting together something simple had a certain appeal. So, that particular image, of the suited man, was pulled from the composition. Which left a bit of a hole. Or so I thought at the time.
I briefly “auditioned” figures to fill the blank but nothing clicked. So I decided to proceed with it as an asymmetrical work, something from past experience I knew had the potential to be highly problematic, and not really where I wanted to go. But I worked with it.
And the image at the top of this page was where it ended up at the time. But there were still changes to come.
Because then, the thought came to mind, why not employ all three shadow line images in a triptych.