Notes taken directly from my reflection journal, uncut and unedited:
Not wanting to paint “inside” the form and supersede the rhythm of the coil springs, I decided to paint in the negative spaces or highlight the interesting patter of the negative spaces adding a lively pattern to the motion suggested by the coil springs. The repetition of the squiggle pattern created by the coil springs and the overall form activate the idea of movement which tends to flow similar to the original “Vegas” sign type lights in which the bulbs are programmed to turn on and off sequentially. The primary and secondary hues make it read lively, happy and playful. The Chartreuse around the edge almost glows.
IT would be interesting to see what this would look like if I cut the pattern exactly the size of the springs form and installed LED lights behind the wood so the lights would glow as shadows on the wall.
Seeing the springs white without being directionally lit emphasizes the frozen motion of the repeated shapes of the coil springs. The colors pop out more than I’d like and appear to have more importance. This is subdued a bit by the white paint and begins to equal out the balance of importance. A partial resolve to all of that came when I added the colored acrylic ‘chips’ into the outer ring of selected coil springs. Selecting the specific places was a lot of fun and reminds me of the joy I feel while painting. There is something so satisfying about the shadows in general and then to have some of them colored really extends the piece. I’ve talked about it in past entries how the shadows extend the overall size and feel of the piece, yet with the addition of color, it makes that idea that much more real. The shadows reveal or uncover the existence of the coil spring form as if the form is the hidden consciousness of the piece and through that consciousness the soul is projected for all to see. In that respect this piece without the acrylic ‘chips’ and without lighting is like the skeletal structure or perhaps it’s like seeing a picture of a very attractive person such as a model or actor or actress – visually desirable, yet unless you know them on a personal level, you have no idea if that attractiveness is real, it’s “skin deep” at that point and can quickly become thin and tasteless. The lighting manifests the soul of this piece decidedly uncovering its inner beauty.