Updated on 12 March 2017 (Harvard referencing).
7 September 2016. As the basis for this exercise I used a sketch I made while staying in the hospital in Aschaffenburg. There is a a sort of square next to the hospital’s main entrance, where patients and visitors gather to chat. Under a tree there are some “benches” made of concrete blocks with wooden lattices on top to sit on. In that scene is struck me how closely related joy and distress are and on the same bench some people would laugh and play with their children, while literally centimetres from them a lady would put a comforting arm around her partner’s shoulder. This is my picture for this exercise (Fig. 1):
As in the previous exercise I decided to stick to a smaller format (A3), but this time referred to my sketch in planning the composition. Since moments like this are highly fleeting in nature and only seconds later will change to something quite different in composition and emotional content I decided that I would try and attempt to paint in a way that is able to transport the ephemeral nature. This gave me the idea to paint in semi-transparent layers, which are somewhat displaced with respect to the adjacent layers, as, say, in printed 3D images looked at without the required glasses or even a misprinted photo in a magazine, where the differently coloured layers fail to lie exactly on top of each other.
13 September 2016. What a week that was! We hardly left the kitchen for need of learning to prepare modified Atkins meals as quickly as possible. Yesterday our son returned to school and that means preparing school lunch at home as well now for the three days he stays for after school care. I still managed to start my painting for this exercise. Here comes the first layer, which I prepared with my roller again to get acquainted with its properties, then sketched in the persons in watercolour fashion. Except for the pair on the right I planned to paint all people “out of focus” as described above, and as indicated already e.g. in the man standing left of the tree (Fig. 2).
23 September 2016. Amidst all that cooking a demanding diet it took me ages to finish this exercise. I tiptoed my way through the effects by stepwise increasing the difference between the time-arrested couple and the persons moving around them and in the end came up with something I would have liked to have avoided in a painting course. I had to get out my ink pens and enhance the unsatisfactory feeling of unrest I had produced with my undeveloped out of focus technique. Here is the fist sequence of steps to the final result (Fig. 3-5):
I think that it was important to let the surroundings shine through in the moving persons, which made them look more ghost-like and movement more believable. The ink pens did help to highlight the aspect of movement, although I am not pleased with myself for having failed to use paint only. If I find the time (haha, only a joke), I might try and see whether there is another solution to the problem.
Overall I am not unhappy with the result however and I believe that in the two details to follow it is quite clearly visible how time is arrested in the couple, while life keeps going on around them (Fig. 6-7):
Now off to Assignment 3!