we’re approaching the end of the year here, and besides christmas this is also the time to begin thinking about carnava’l– or mardi gras, as others like to term it. one has to begin thinking about it even earlier, if one wants to put a float into the parade– there is so much work that goes into one, and before that comes the design stage. i walked over to the “works” yard yesterday morning– they do a lot of the construction on these floats out there– molding of pieces and such– and when all is over the floats return to the yard for deconstruction. they do keep little bits and pieces of some floats, i imagine in case they want to use them in the future, and their storage area is chock-a-block with these all but forgotten details. seemingly good fodder for photos, but there are actually too many details most of the time for good composition. i will have to walk out there regularly for the next few months and see just what is happening.
something is happening with my painting as well– i finished up the initial application of complementary colors and began stage two– the underpainting, i like to call it– the base coat upon which i do the actual painting i am thinking about. this stage is about messing around with colors to give the third stage some pizazz, and also it’s about some experimentation on what i want to do later. this photo was taken a few days ago.
and this is the most current photo, taken yesterday morning, but things have moved on since then– however, you can see the progression. unfortunately, as i am thinking about it, this does not give much information on what this painting is really about. what this painting is really going to be about is the two figures in the foreground– the motorcyclist and the woman in the apron– and the leaves and flowers of the flamboyan tree stretching over all their heads, indeed almost from one side of the painting to the other. however, i have to finish up the sky and a lot of the detailing in the back and midground of the piece before i actually apply that paint. it is making me nervous, as i have never done a painting in this way before– or perhaps it is just a little hyper-awareness of what is going on. i know that the new brushstroke i have been using is going much more freely now, and i am relaxing to what i am doing.
nervously relaxed, that is.