A vision where it is possible to lose oneself in the tracery. As our eyes follow the darkness of the entwined lines we could become -.out of focus. They find it difficult to get his art into clear focus. It's their own fault, of course, more than it is Manet's. He can focus and how.
Soft focus has it's advantages in art, just as clarity does.
Rather there is a desire to get the drawing right, have it down as hand memory so that I can draw it repeatedly but without tightness and at some point let it go, so that the drawing of tracery goes fluid and loose in some areas but not in others. The Spirit Balcony Paintings have a dreamy quality, an intangibleness, a desire for fluidity and likeness to malleable iron in it's quality of that it may be bent, stretched or welded with the greatest of ease . I want to capture the immediacy and frontal surface of 20th century art, it's big scale and generous proportions, it's concerns for periferial vision, and link it to the tradition of absorptive, slower and capable of sustained study presentness of the 19th century art, where vision is more tunneled to key areas within the picture. It seems to me that my Spirit Balcony Paintings can offer a partial affinity between these two centuries. I hope that my flow of pigment within such paintings as Spirit Balcony entice the viewer to slow down and spend a little viewing time on them.