Since the primary purpose of these drawings is to provide information for a painting, more and more I am leaving things out as well as putting things in as ways of helping me answer my questions about what I’m seeing.  I know that the sky is going to be a fairly solid blue with certain qualities of tonality and so I have begun leaving it out whenever I’m pressed for time. 

I put just the adjacent edges of sky next to passages where it seems to offer pertinent information, and otherwise I know it’s just “blue” and don’t think about it. 

This approach gives way to something new about the process of drawing.  It becomes abstract in, what seems to me, an interesting way.  Whatever I know I already have “up here” (she said pointing to her head — do you see me pointing to my head?)  I can safely omit.  Consequently the picture becomes sounds and silences.  The missing information is still in my head so I needn’t put it into the picture.  Ah, but the spectator has a different head!

Truly landscape is a psychological gesture.


2 thoughts on “Sur le motif

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