This is an exercise in filling the Art and Perception news hole, deja vu or a naked bid for attention, take your pick.
A technique in these architectural paintings – and something which has appeared in previous posts – is the use of underlying intaglios or raised portions. Such a pattern can act to hold a design that comes through whatever terrain of filler and paint is later applied.
I swim at Notre Dame College, a school whose modest campus is dominated by an imposing main building. This began as a shot, in white board mode, of a corner of that structure. This was then traced out on plywood with whatever appeared as black becoming a raised area. This was then followed by a period of back and forth with opaque colors and glazes. The structure ended up as both firm and dissolving.
The previous exercise led to this image of the interior of an unknown perpendicular cathedral. It employed the same methodology as the prior image, but an attempt was made in this case to deal with transmitted light. I kept applying ever lighter tones until the image almost disappeared. This was followed by some darkening. The cathedral, rendered in raised surfaces, continued to reassert itself throughout this assault.
I could swear that I shared this image before, but I can’t find it in the annals.
It is clearly Fallingwater, one of Frank Lloyd Wright’s most famous commissions. The architect had specified that a goodly portion of the building would be covered in gold leaf. Budgetary limitations unfortunately prevailed. In a spirit of charity and with a bit of gold luster I was able to add this touch. For this painting I went with incised Foamula.
I don’t have a thematic question to pose, except to ask what question you would pose here if you were I.