Trees in pleasing contrast
side-on dark effect
to draw the shape inkeither flat or graded reality is an impression
impressions aimed at that other interest: distant trees
look across country distant
size an important peculiarity of oppositesit is true indoors emits no colour
when seen from this angle
sun in the morning
early afternoon
to stare toward the horizon
we continue to wishwash in distant hills
(such a luminous result)
…
distant hills :chance arrangements justify a little framing
studies of trees and figures
hard and unsympathetic without subjugationin colour and form we square off happy days
‘I’ with a colourful past
‘I am’ perhaps more useful
I like that phrase,
it expresses perfectly the correlation(a pensive insight in analysing failure)
…
the road beats more powerfully at the base
an honesty in bright coloured flags
or a man’s jersey accentuated with peacock greysapart from the above
one is dominated by light and shadowin this sketch
I choose a bluish green… a view, simplified in the minddistant trees
of certain shape, colour, and size
placed in bright light
displaced…rendered
…
composed of more than the obvious
dissect observationsa madness in genetics
repeat portions for atmospheric effect
out of my depth
demands hours of happy choice, mono-toned backgrounds…
re-
directions :
opaque colours in a strong wash of ultramarineI must leave it
transparency that runs around edges…to look long enough
to look for colours, shadows, sun-lit
objects casting light, a warmth… pieced…together
memory turning back restoring projections
…
in this handbook extras soak up surplus colourpan of pure burnt sienna…pale…
pale flesh on cheeks: alizarin crimsonto give depth to something so blue… look up… deep
… greenish, bluish, pale
reflected lighthowever clear the water
bright reflections translate the latter
dilute actual artifacts
(due to the colour of water)absolute light
reflections up
on inflections (underwater)
it seems the shapeis the actual process employed upon the placing of light
…
the trick is to love such insignificant featureseven the perfect mirror gives a darker view
nothing is unfortunate
yet more common when drawn in proportionappearance re-makes a face
a hope that it is nearly but not quite in its essence
can I obtain a peculiar charm?
this freshness
softened edge washing out a veracity of colour
…
I am reminded of a delicate surrounda kind of niche: the transparent
golden……
…gleaming……
…seamclarity distracts my attention
using the same study
in as direct a manner as possiblebeauty frames
arrested in altering : arranging nature by design(of the above remarks I have a better illustration
as things grey
adapting mixtures of primary coloursevery object demands something free
a success, suggestion of foliage
mass of outline)
II
forget the absence of open-attachment with occasional light touches of green a
bird’s eye view: say at spots X, Y, and Z… a skeleton of the upper roof and rafters
the tone of roof timber, walls, posts, leaving the mind as a distant boat
drifting: inside highlights, of windows and spots of skylight…light at first, curse, the first: Fig. B, you will see another part of the same tree, let go
of green, taste the blue and burnt sienna : process the other side, and so on: on one
side, on each edge keep a sense of the whole, a little part, a pattering, a putting on, a
new tint or tone : distance, a middle distance, re-run… translate Fig. A: the foreground at once stationary, when there is no time to stop
or question… go on, now add a touch of crimson lake : the architecture, limitless,
hurries past :
reproduction is doubt’s mutual pleasure: still life : or true life, a child,
furniture, flowers, a row of trees, literally as they were : Fig. B shows nothing but the
composition, better to stand still than spoil its whereabouts: intersect | W, to join the
line X : then immediately to C, and continue the square : Fig. D extends, ricochets in
counter-balance, situated amid an indistinct patternin so far as lines and masses such a simple colour scheme helps to hold the picture: a
transparency, a thin fog large and stately, a manual on…from life, a manual on
configuration : a manual with trees–grass–distant trees–clouds–reflections–of colour–
pure colour–landscape traits:an attempt at that happy combination
III
what a happy medium life conveys : silence, to seek directions, plus in part, the use of
one word over another : when too hard one makes glint or groove in which the world
settles : oxygen from ruminations follows wing-tips : again endings… the advantage
of using one’s own imagination can point out fault-lines without remembrance…O…to be swept on, excepting the slightly heavier tone, I must remind myself of the
vital subject: this composition, how it emphasises the peculiarity of loss, I have no
real link but that of subterfuge: the ability to go on is important, to let the mixture get
muddy(to mix more than is necessary
generally remembering light is entering from a comparatively present future)
highlights…I can advise little on how to advance a path serving its own purpose, the
components of this poem have made me envious of those who set forth for the first
time: that difficult tipping of a hat to those fugitives who first harnessed light: exterior
bric-à-brac…fittings pin-pointing a tone, a timbre, a distant tree.
- 115: SPACE
with A Sometimes
114: NO THEME 13
with J Toledo & C Tse
113: INVISIBLE WALLS
with A Walker & D Disney
112: TREAT
with T Dearborn
111: BABY
with S Deo & L Ferney
110: POP!
with Z Frost & B Jessen
109: NO THEME 12
with C Maling & N Rhook
108: DEDICATION
with L Patterson & L Garcia-Dolnik
107: LIMINAL
with B Li
106: OPEN
with C Lowe & J Langdon
105: NO THEME 11
with E Grills & E Stewart
104: KIN
with E Shiosaki
103: AMBLE
with E Gomez and S Gory
102: GAME
with R Green and J Maxwell
101: NO THEME 10
with J Kinsella and J Leanne
100: BROWNFACE
with W S Dunn
99: SINGAPORE
with J Ip and A Pang
97 & 98: PROPAGANDA
with M Breeze and S Groth
96: NO THEME IX
with M Gill and J Thayil
95: EARTH
with M Takolander
94: BAYT
with Z Hashem Beck
93: PEACH
with L Van, G Mouratidis, L Toong
92: NO THEME VIII
with C Gaskin
91: MONSTER
with N Curnow
90: AFRICAN DIASPORA
with S Umar
89: DOMESTIC
with N Harkin
88: TRANSQUEER
with S Barnes and Q Eades
87: DIFFICULT
with O Schwartz & H Isemonger
86: NO THEME VII
with L Gorton
85: PHILIPPINES
with Mookie L and S Lua
84: SUBURBIA
with L Brown and N O'Reilly
83: MATHEMATICS
with F Hile
82: LAND
with J Stuart and J Gibian
81: NEW CARIBBEAN
with V Lucien
80: NO THEME VI
with J Beveridge
57.1: EKPHRASTIC
with C Atherton and P Hetherington
57: CONFESSION
with K Glastonbury
56: EXPLODE
with D Disney
55.1: DALIT / INDIGENOUS
with M Chakraborty and K MacCarter
55: FUTURE MACHINES
with Bella Li
54: NO THEME V
with F Wright and O Sakr
53.0: THE END
with P Brown
52.0: TOIL
with C Jenkins
51.1: UMAMI
with L Davies and Lifted Brow
51.0: TRANSTASMAN
with B Cassidy
50.0: NO THEME IV
with J Tranter
49.1: A BRITISH / IRISH
with M Hall and S Seita
49.0: OBSOLETE
with T Ryan
48.1: CANADA
with K MacCarter and S Rhodes
48.0: CONSTRAINT
with C Wakeling
47.0: COLLABORATION
with L Armand and H Lambert
46.1: MELBOURNE
with M Farrell
46.0: NO THEME III
with F Plunkett
45.0: SILENCE
with J Owen
44.0: GONDWANALAND
with D Motion
43.1: PUMPKIN
with K MacCarter
43.0: MASQUE
with A Vickery
42.0: NO THEME II
with G Ryan
41.1: RATBAGGERY
with D Hose
41.0: TRANSPACIFIC
with J Rowe and M Nardone
40.1: INDONESIA
with K MacCarter
40.0: INTERLOCUTOR
with L Hart
39.1: GIBBERBIRD
with S Gory
39.0: JACKPOT!
with S Wagan Watson
38.0: SYDNEY
with A Lorange
37.1: NEBRASKA
with S Whalen
37.0: NO THEME!
with A Wearne
36.0: ELECTRONICA
with J Jones