Portrait of ‘The Fisherman’ finished. Tossed on the sea of life. His hoody, a halo of protection, insulating him. Retreating into the anonymity of its darkness. Within which his eyes stare unwaveringly at the hostile environment within which the homeless exist.
Raw Sienna mixed with rose and a touch of Naples yellow gold as the base colour for the portrait, with shades of Indian Red and Cobalt Blue grey.
My elbow complaining at the contortions.
Early summer days. Beach walk at first light. Paddling, with blue herons watching, in pure stillness. Feet pounding the brick paving alongside the lagoon. Braai fire creating a glow, adding to the fiery sunsets across the water. Owl hooting its greeting to those who pause long enough to listen. Pin-tail Whydah’s filling the air with attitude.
Limited edition, hand-crafted wines from Osbloed winery in Somerset West. Each with its unique story, and intriguingly different to those we normally drink.The Knysna River glowing in the sunset. Red-bridge a shadow. A question, as to how would Jackson Pollack paint such a scene? Did his paintings have any compositional strategy (He famously said: “I don’t paint from nature, I am nature.”), or were they a random splattering of paint, without an underlying concept? “When I paint, I have a general notion.” Jackson Pollack 51. Colour as shape.
Can his ‘action technique’, as manifested in ‘drip painting’, be applied to my style, which is neat and compact (His were none of those things!)? Ever mindful of the person who came through the studio exclaiming ‘Thank goodness, not another #¥@! landscape!’.
The river, the flow between past, present and future. ‘The River does not flow, but the bridge does.’
Terry’s dinner menu full of Mediterranean flavours. An instant transportation that made one want to head off to Greece, Turkey or Morocco. Salmon ceviche starter (lime, orange, chilli and red onion), followed by grilled leg of lamb with roasted bringel and a yogurt sauce infused with turmeric, paprika, and mint.
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