About progression of her work, Carolyn speaks technically… It is like reading, left to right, top to bottom. It might have been fun to shoot each new head, but other than that I don’t think there is a lot of interest there. I am currently on 135. So I could shoot a snapshot of where I am, but that won’t reveal much.
I disagree. Of course, progress photos will reveal something. I ask her to think about it and get back to me.
Carolyn has a bit more to say the following day, still technical, but within that context, appears the personal. Exactly what I am looking for. The artist is in charge of their work, from beginning to end. One does something because one feels it’s the right thing to do. It’s that simple.
“It will be difficult to get all 200 portraits done for the exhibition. It seems clear that people are going to ask me why 200? The personal investment into this piece will not seem rational to some.
When I initially gridded out 200 spaces I just knew I wanted it to look like “a lot”. And it hasn’t helped that I am drawing with more detail than I did in the beginning. This visually evident change will be part of the evolution of the piece.
I have had small moments where I tried to think of a way to finish the piece with less than 200 so that I would be assured of finishing in time. But those moments don’t last as I would much rather accomplish my original goal.
Anyway there is no real way to cut down the canvas and have matching edges when stretched. And it will be a better piece at 200 than it would at any number less than that. Each time I finish a new animal portrait the overall piece looks better.
My pace thus far has shown me that I will be allowed no confidence of success between now and mid February. But I do think it is possible. And, it all feels worth it.”
Strikingly simple. Yes. Worth it.
You should know…Carolyn is doing nothing else these days, except drawing.
Lots of new intricate work on this stretched canvas, from when we last saw it.