SHINCHON CROSSROADS 4
I started answering my own questions. How was color (and opacity) going to change the way I did images? What did I want to do with this new approach?
I was fishing for images, letting them happen, at first, and making them with equal parts invention (allowing the paint to find faces in the clouds) and fixed ideas, which were those mental plans I was trying to get out in my art.
They were tiny paintings. I did about a hundred or more like this, and then kept doing more and more, just playing around with whatever came out, pushing my own notions of what I wanted and getting this hodgepodge of fun and unfocused details. They were mobs of ideas, and I loved it.
I was looking toward the black and white work I had just made in the weeks previous to my big change and wondering how I could make work the same ideas – but now in color.
It was not going to be easy, because now I was focused on color, that strange new element that was putting me in raptures, and not the content which was making me move to a different tune of shadows and light.
