Distant Trees

1 August 2015

Trees in pleasing contrast

side-on dark effect
to draw the shape ink

either flat or graded reality is an impression
impressions aimed at that other interest

: distant trees

look across country distant
size an important peculiarity of opposites

it 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 wish

wash in distant hills
(such a luminous result)





distant hills :

chance arrangements justify a little framing

studies of trees and figures
hard and unsympathetic without subjugation

in 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 greys

apart from the above
one is dominated by light and shadow

in this sketch
I choose a bluish green… a view, simplified in the mind

distant trees

of certain shape, colour, and size

placed in bright light
displaced…rendered





composed of more than the obvious
dissect observations

a 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 ultramarine

I 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 colour

pan of pure burnt sienna…pale…
pale flesh on cheeks: alizarin crimson

to give depth to something so blue… look up… deep

… greenish, bluish, pale
reflected light

however 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 shape

is the actual process employed upon the placing of light





the trick is to love such insignificant features

even the perfect mirror gives a darker view

nothing is unfortunate
yet more common when drawn in proportion

appearance 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 surround

a kind of niche: the transparent

golden……
…gleaming……
…seam

clarity distracts my attention

using the same study
in as direct a manner as possible

beauty frames
arrested in altering : arranging nature by design

(of the above remarks I have a better illustration
as things grey
adapting mixtures of primary colours

every 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 pattern

in 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.

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