The structure of the painting is said to start from its black and white composition, and overall value pattern, which influence the colours chosen. In this piece I starting with my own mixed blacks, and decided to allow the…mountain to indicate this structure to me, abstracting the perceivable shapes the mountain provided and the movement I felt. The mountain itself seemed to move, changing constantly as the sun wrapped its light around various portions, while my brush took note.
There were times when a particular slope reflected certain colours, though subtle compared to the stark dark and light patterns initially noticed. During sunlit moments, the high notes of the composition became evident. From past experience I knew these required tints (colours mixed with white), so I prepared them ahead of time for when that elusive light would hit.
Under cloud cover however, the high notes were less evident and so greys were employed, the colours softened, or areas of the canvas left white.
In order to orchestrate the whole of these high, mid and low notes a certain weight and character was given to the elements; some exaggerated, given freedom in their gesture, while others subdued or painted over. In the final touches, the brush work seemed to make a celebrating dance across the mountainous score before me. I sensed a melting away of some personal “mountains” I had initially perceived to stand in the way of my journey into abstraction and a sense of accomplishment passed over me.
I was freed to paint beyond what I knew, what I saw, and what I expected – a personal abstraction success!