© 2016 | Oil on Paper
Yang began as a study of an abstraction of a human form.
In my reference library, I had an image of a young man in the cliché yoga pose. I enjoyed the serenity that the image communicated and how the figure was compositionally planted on the horizon line.
I wanted to create a couplet that focused on two individuals who were not so much inter-twined but complementary. I wanted to communicate the attention to their own personal practice while acknowledging their inter-dependance.
Working through a distinct visual language, I painted the initial drawing and covered it with thin tone of color. Coming back to this the next day, my inner landscape had changed dramatically, and I dived into the painting with a more linear consciousness. The construction of the head was a skull form whose simplicity had pleased me. I decided to paint the eyes within the sockets – then the third eye. These seemed odd to me so I decided to paint the eyes closed – but still revealing the inner awareness of an open eye.
I was thinking of my grandfather’s hands when I was painting them here; those gigantic paws of a blacksmith; tools I inherited. I wanted to focus on the massiveness of the joints while the gesture remained at peace.