Still not awake at 4:45 AM but still interested as I imagine how much writing could be done. Now surrounded with four or five copies of Roget’s Thesaurus but only two am i able to read the print. Still waiting for Roget’s 4th Edition. But happy!

Recently in August 2011 a friend used the phrase ‘imagine a painting in fog’. Immediately I imagined a very gray world cloaked in ambiguity.

In careful reconsideration I recollected over the summer (when my color theory class was working with disappearing boundaries (a color study by Albers)) that i fell in love – became enamoured – with neutrals. The color-aid papers spilled out before me and i connected with these pastels, tones and other neutralized hues. How had I neglected them? I am sure it is that I imagine these giving way as a muddled experience of color whenever I would contemplate these types of mixtures. Especially for me, all the more so, because I work with color interaction within my abstract fields.

Well, to make one quick point regarding all of the above – currently I have nearly 10 small (possibly 14 x 18″) works on unstretched canvas on the floor of my studio. Not fit yet for presentation here but a curious experimentation of color and fog, color obscured, color neutralized. Not sure yet where this is going but the ideas and love of disappearing boundaries press me onward. Still I know i want to know each color, hue or tone, and for each to stand on its own.

So in reviewing some works by albers:

josef albers "homage to the square nacre"

josef albers "homage to the square nacre" , 1965

i see that he was inspired by nature perhaps in his selection of colors – nacre meaning Mother of Pearl. Comparing with a photo of the SF fog coming in along Folsom (and 8th) with an image of the moon.

sky with moon in september, SF

sky with moon in september, SF. Photo taken by kathryn arnold

Of course there is also de kooning with his thick juicy grays and neutrals to consider along with that vivid deep cadmium yellow (is it straight out of the tube?):
This image is from the Whitney Museum in NYC

Door to the River, de kooning 1960

Door to the River, de kooning 1960, image from The Whitney Museum, NYC

Also under consideration are his Excavation series, lesser known than the Woman series. I discovered these in one of the American Art History courses I took at the University of Kansas with Dr. Charles Eldredge (an excellent course driving me to my love of American Art). I remember being fascinated by this work, taking more away from it personally speaking than the Woman series. This image is from

Excavation by de Kooning, 1950

Excavation by de Kooning, 1950, image form Chicago Art Institute

With all of these examples within my reach and the roadmap with destination not clearly designated – I look forward to a season of work, some experimental if not all.