Figure in Motion
 

This is 24" x 36", oil on canvas.

Hello Thomasin,

So good to see your work here again. I really like this piece of yours; your work has evolved a whole world fromthis piece of yours which I also admire very much.
So much to say about this one:
--first, I like the way the motion of the figure is implied and not explicit: the hand on the hip, the subtle shift in the axis of the torso with respect to what one can perceive the axis of the lower limbs would be.
--then the way the figure alternately emerges and merges from the background: I find this very impressive (since I don

Thomasin,

Carlos has said it all more eloquently than I could, all I can add is Wow! I am always amazed at your work, your subdued use of colour and that etheral quality that gently flows through the composition are remarkable, I wish I could see through your eyes to gain some insight as to how you do it!

Thank-you very much, Carlos, for your kind comments and continual encouragement. The three aspects you mentioned are the things that come without thinking for me - things that I take for granted. and which I do and put aside to work on the rest (the placement of eyes, the realism, the finish (which, in the end, I scrape off because it just doesn't hold any conviction for me). Your comments here have made me aware of the things that might be the essence of what I do, and which I certainly enjoy doing, and certainly where my strength lies. My current painting is very enjoyable with having your comments in my mind, and my focusing on what works rather than what is "finished".

Bob, thank-you for your very kind comments too. You also mentioned two things that recently I dismissed as unimportant as they come easily. Someone mentioned that my work might need to get to another level and I have always had the involuntary feeling that meant making it look like someone else who is more successful, so concentrated less on the things that were mine.

Beautiful, beautiful....wonderful.

Julie - thank-you very much.

I like the attitude in this piece and love the lighting.

Thank-you very much, Mary Ann.

Thomasin,

Sorry to be so late in responding. I simply forgot I hadn't already said something! I, too, was thinking (and marveling) about how much your work has developed since you joined this forum. In the scheme of things, it isn't a very long time, and what you say in paint is now incredibly integrated and strong. I have no doubt we will see great things from you.

I love the placement of the figure, the suggestions of edges that appear and disappear, the integration of figure and background. But for me the most striking thing about this painting is the feeling. I see very few works of art that express feeling without sentimentality. You do it every time and this one does it remarkably well.

Alex, thank-you very much indeed. This painting (and Leaning Figure as well) were actually quite a struggle - trying to achieve something that wasn't happening, and not really taking notice of what was happening. It's quite risky when that happens as there's always a danger of actually destroying the whole thing, so the best thing is to stop when it feels finished (even if it was not what I set out to do), put it aside and get on with the next painting. And it is rewarding to look at the paintings again later on when what you thought you wanted at the time of painting has been resolved or evolved in newer works and you see the earlier work in a much more unbiased way. And what I didn't like or want in the work originally now seems full of possibility.

And so I really appreciate your comments because you express the same sense of sense of possibility in such an articulate and generous way. It is really very inspiring to read what you write.