© 2016 | Oil on Paper
Yin started out as an experiment into free painted association.
Even though Yang was the first of the couplet to be painted, Yin provided me direction for them at conception.
I knew that I wanted her to be grounded and Earthy while Yang was to be more transparent and airy. The compositional relationship to the support (and each other) were to be inverted. Even though both figures were going to be nude, I wanted to focus on her forms in an non-sexualized way. Her facial features would be engaging – pleasing but not predictable.
When I had competed Yang, he didn’t have a horizon line. After Yin was born, she inherently demanded a strong support. In kind, I then went back to Yang and added a complementary line.
Decidedly, her pose was going to be the harder of the two. Whereas Yang would be in an almost aloof astral plane, Yin’s reality was stronger and more secure; she demands more of her Self. Therefore, she is far more tangible – her presence is within a far more corporeal plane.