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In preparation for this project, I drew the open landscape and sky, a small cluster of trees, a single tree, thin wire geometric forms in the grass, and then wooden blocks placed on ledges looking for a subject that suited my exploration of light. Although none of these objects worked because they were either too big, too complicated, or too abstract, this trial and error process helped me narrow my focus to a plain, average size bottle with pleasing proportions like you find in a traditional still life. Dawn and dusk come and go very quickly so I eliminated the complicated transparencies by spray painting it an opaque color, and I chose a middle value gray to further neutralize the form. I placed it vertically on a platform so it is the perfect sundial, and like a tree, it makes a contrasting balance to the horizontal landscape. From dawn until dusk I took two rolls of film of a variety of bottle arrangements. I put all 48 on my studio wall, and I eliminated one or two every day. It was just like "Survivors" on TV. |
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A small bottle gets lost in a landscape. |
The shape must be simple to draw because the light changes quickly. |
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Transparencies are more complex to draw than the time allows. |
Reflective surfaces distort forrm and are too complicated to draw in a short time. |
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A middle tone makes the form neutral. |
Gray is a balance and without strong contrast. |
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The shape of the bottle is round, smooth, proportioned well, and I like the idea of it. It holds liquids, and it can be emptied and filled just like you and I. This one is a sundial, and a sentinel that helps me see the changing quality and quantity of light. Using a tangible symbol of source and containment is to my mind a logical choice because I cannot hold or touch light yet I must try to when I make my drawings. |
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