One of the best reasons for standing back from work is being able to see the whole forest for the trees, that is: the strengths of the groupings of the lights and darks in the composition as a whole. Having been bent over the details, and being the one holding the tools, it’s too easy to get compulsive about the minutia. As mini-creators, we/I think I’m in charge too easily. I need to back up, take a breath, blink several times and then look again. And time makes a difference here too, kind of like cleansing the palate, or clearing the slate from a mind-frame that just isn’t seeing it well at all.
This little sumi ink drawing was done 15 years ago. I gave it to my Mom and just got it back. It was a view out her then window. She’s gone now. This is just a material thing, but it holds memory for me from some sweet times with and for her.
I remember that when I made this, I was a little disappointed for the real view was so much better than this! I have two of these. One looked out a west window and this one looked east. This one is much stronger than the other for it’s value arrangement. But I couldn’t see that then.
I am working now on a larger drawing that will become a painting. I am mapping out the value arrangements ahead of time, aiming to keep this in mind:
- That my impetus is unique.
- That my vision however can get so easily clouded, and
- It’s only time that will show the real value