How to continue

I’ve found that my smaller works tend to have more parts, and more detail. They are more intensive, you might say. The beauty of the larger works is in their ease and simplicity, but just today I looked at some small ones and found that their intricacy—which I have had a bad feeling about—is actually pretty attractive. A piece often needs time before it can be seen and recognized. But the real problem is how to carry on with the work and develop

Robert Linsley, Untitled Islands 2011

Robert Linsley, Untitled Islands 2011

it further. In my case that means to make more complex and integrated pictures with the pouring method—complex patterns with simple means. In practice, feeling combined with increasing awareness of the emergent pattern. This small piece looks forward.

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