In yesterday’s post about my latest, if infrequent, ( print ) sale, I mentioned finishing up another polyptych, this a two-panel piece entitled, Dragon Dawn.

I did, with the help of several manipulations via my iPhone’s image editing software, capture a reasonably good rendition, esp the darker more contrasted right-side panel. I’d place the 2 pieces against a wall on our balcony, sideways toward the open end where the sun still shone fairly brightly on the rapidly greening mass of leaves on the trees. I probably need to lean it straight across the light, vs edge-wide to it, but I’ve some logistical challenges to do that, lol!

Some of ya’ll may’ve seen one of my early shots, this one from early May last year ( 2021 ) of the woods beyond our balcony —

I know I’m digressing 😊 I’ll blame it on a lingering recovery from my 2nd Covid booster shot, which worked me over more like my 1st shot than any of the others, regular or boosters; but I am feeling much better this evening ( Sat, April 9th ).

But all this has an unintended point of comparison between Dragon Dawn and my wooded bird pic above – a strong sense of space and distance, close-up detail and blurred background. Of something distinct and something not quite clear.

Nothing new in art of course, or even the few pieces I worked spatial qualities into my painting, but experimental for me in terms of applying heavy texture surrounded by much thinner atmospheric rendering.

Below is a detail shot —

The contrast of heavy texture vs light texture, and strong color vs pale color, strengthened 2 things for me I hadn’t expected —

1. the impact from light to dark, and back, which is equally important, providing movement beyond directional lines etc, is really strong. Maybe stronger in a more unusual way due to the ambiguity of division between bright and dark, thick and think. Also, the lines are blurred, interacting with each other in a broader borderland of transition than a typical line
2. and, the snap, for me at least, from making the bright dragon the focus, with the darkness around it – vs – making the mountain-range like black beneath the dragon the focus, with the dragon a part of it, as an early twilight, alters my whole experience of the painting ( ala, I realized after finishing Dragon Dawn, my Mount Mansfield photoshoot in Vermont in 2018 – https://felipeadanlerma.com/2018/12/26/mount-mansfield-my-favorite-sunrise-photo-shoot-series-of-2018-image-one/ ). One of my fav photoshoots ever, I’d always wondered how that night to day photoshoot experience might resurface in my art ❤️

Both types of elements and both types of focuse ( #2 ) seem to create / expose depth, but in entirely differing modes.

The feeling is quite distinct between the two depth focuses, and yet they co-exist.

Again nothing new in art. But somehow new to me.

Especially in awareness 😊

So is my new painting an abstract, an abstraction, or an expressionist rendition of an early twilight?

My title wants you to see a dragon. And the dawn. The paint application though, to me, screams abstraction.

Maybe it’s a nicely alternating reality of all three – and wouldn’t that be nice 😊

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I probably won’t follow up on this idea of depth realities immediately. I have 2 more black panels to create one more diptych ( I’m not buying more canvases right now for awhile, rather concentrating on using my nice current supply on hand ) and there’s something else I want to try with them ☺️

Early next week I hope to have a post on my art-change-out at Art for the People. Didn’t sell anything, but had a new piece accepted for another go. There’s no specific post on it yet, though I did show it sorta in progress in the past. I’m calling this one Neon Lady. I’d begun it late last year in December, have worked on it on & off, and the director at the gallery chose it to show 🙏

I’m very hopeful about it and priced it to sell ❤️

Stay well everyone! Stay hopeful! 💕

Adan

See & Buy My Art 👩‍🎨 🎨 ❤️
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Thanks again, everyone! 😊

Adan

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