Club LaRouge is finally done and back from the scanner. There is a comfortable rhythm to completing a painting: idea, sketch, transferring to board, painting, scanning, framing, wiring up, uploading to the website, finding a place in the house to hang the thing and, usually, a bit of retrospective thinking.I like the way perspective shifts around in this work. The outlines of the dancers are based on photos and superficially read as realistic. There is an implied viewer in front and slightly below…..
…but the floor upon which the ladies dance can only be seen from above.
The club’s entrance is also in correct perspective, giving that viewing option more weight, but nothing can overcome that pesky floor.
I like this sort of visual tension. In the accordions I play, there is usually something called a “musette” setting which produces a specific sound favored by French players. To achieve a “musette,” the accordion reeds must be tuned just slightly apart: far enough away from each other to be at odds but close enough to give an aural impression of one note. The result is a delightful quivering vibrato or beat. Maintaining different viewpoints in one painting does the same thing. In all of my work, images may seem to be standing still, but just underneath, everything is fluttering and alive.