Rough drafts, compositional and design issues are worked out in the sketchbook before proceeding to the use of art supplies and other materials, as described on the Techniques page.

-from March 2014 Journal:

The process of this piece was more about being meditative than involving visual documentation. Because I was not satisfied with the outcome, there were no photographs taken of the original artworks.

The canvas’ were removed from their stretcher bars and, with a utility blade, cut into relatively equal strips.  All unpainted canvas (including the freshly cut edges) were touched up with black acrylic paint.  Each strip was punched with a pinhole at the top, maintaining the same orientation and sequence as the original painting.  Canvas threads were dipped jellyfish 2in black paint, needled through the pinholes, and tied, leaving available thread lengths.

A piece of wood was drilled with three rows of holes, a row for each painting – a hole for each canvas strip.  The strips were hung into place by guiding the thread lengths through these holes, pulled taut and secured on the backside of the wood with clear acrylic gloss medium.


Though eye-catching to those who see it for the first time, the revised jellyfish artwork remains to-date in an unfinished state.

-from July 26th Journal:

square/rectangle motif; mirror/mirage; reflections/distortions; blurring of edges; turquoise/bright green/black; day-bright, night-dark; unknown-expectation; heat/air/water

As I review the narrative from my Journal, I begin with a realist sketch of the actual scene; referring to the heat/air/water feel, colors and ‘blurring of edges’ from my notes.

sketch 1

Reference to other visual possibilities from my notes, I consider this image in a square/rectangle motif; this could translate into a mosaic piece of tile or glass, painted squares (in any medium) or a mixed media collage of square and rectangle-shaped pieces.

sketch 2

I like to produce works in a ‘limited spectrum’ style of painting which also implements texture with the specific medium I choose.  The equal luminescence procured from this way of painting will lend itself favorably to accent the mirror: reflections and mirage: distortions, noted.

sketch 3

To further explore the Journal and notes taken, my fourth sketch sketch 4wanders into the realm of a less literal work.

The red ball has been applied, in previous works, as a reference to inside my mind.

The dome effect up into the ‘blue’ sky and the continuation of the colored sphere underneath my mind’s horizon is simply a way to play with the context of wondering about the unknowns in the black sky above and the black water below keeping ‘reflections’ and ‘mirror’-like imaging in the design.

Aug.7th: I have decided to experiment with mixed-media on paper that will hopefully capture the distorted emotions that I first perceived on our approach to the scene.  It will be a twist on glass mosaic that I am familiar with.  Follow progress on the Techniques page.


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