Didn't set out to create a series but found myself pulled in by the way painting one thing—clotheslines, in this case—offered up a focal point that opened doors to discoveries other than the clotheslines themselves—in the case of this series, the particular setting of each clothesline.
I photographed the clothesline represented in Tryin' to Dry in Time because of the shadows cast by the items on the line and the lack of anything particularly challenging in the background. The scene offered up a good way to get my feet wet, and I (re)discovered how important it is to paint what I see in front of me vs. what I see in my mind's eye.
Dappled Drying also had distinct shadows cast by the hanging items but had a challenging backdrop. The huge gift was discovering how to represent some of the iconic elements of Takodah cabins, including the way light and shadow are so intrinsically a part of what makes the simple cabins visually interesting.
With the above paintings under my belt, I moved on to Hanging Out at Cabin C. The scene had no distinctive shadows cast by the drying textiles but by now I recognized the great light and shadows it did have. The ironic discovery of this painting is that it captures Cabin C far more robustly than my previous "portrait" of the cabin. Go figure!
|Hanging Out at Cabin C|
6x6", acrylic on gessobord
[not for sale]