At last. Just had the first full day working on the big painting since getting back from Alaska. 

 Been doing lots of paper based studies, enjoying my familiar space and all my stuff where I expect to find it. The number three studio familiar is exactly where you’d expect to find him, this laptop keyboard is the warmest place so obviously that is where he wants to sit

 I’ve been thinking about body white, I had the strong feeling that the plein air study was too lightless to work with  inside lighting. I’m building the final version around body white with a dash of Raw Sienna, which I’m working into and over the drawing in washes and occasional gobs of impasto. I’m also trying to darken without blackening, which is interestingly difficult to do. 

 I’m going to do entirely without carbon black, except the charcoal I draw with, which smudges beautifully into the body white. Might use some Mars Black but mostly will be making broken shades using Cobalt Green/Indian Red and Cerulean Blue/Cad. Orange. Because I’m grinding pigments into water with acrylic binder there is a really interesting bloom where the heavier pigments (Indian Red and Cerulean Blue) clump up and separate out in loose washes. I’m hoping that with layers they will build up to Alaskan type shadows, which are sharp, high and deep. This is because the sun was so high and when the sky was clear my eyes stopped right down, which  makes the shadows really intense. 

Some bits of freelance stuff tomorrow but mostly it’s another day watching paint drying. How cool is that !

Abdullah Ibraihim is doing a concert tonight at the Barbican in London. He just said something beautiful on the radio : 

“Once you strike the note there’s nothing more that you can do about it.”     

  Such a helpful thought  when so much of this job is spent  trying to grapple with instransigent stuff that dries too quick,  goes too dark, moves too easily or just doesn’t look like what I thought I wanted. His compositions have such grace and heart, like so many of the pianist composers in Jazz. Breathe in and breathe out, it’s all improvisation. It’s good to get past what I think I want out of making this stuff and try to see what there actually is after a day at work. Sometimes there’s comfort in whatever  marks there are and you are so tired you can’t be arsed to scrape them off. 

So far today all I’ve got is some rather beautiful primed cotton duck, glowing gently as it dries in the studio.