Picking up from where I left off last week, I am pushing ahead with the idea of creating an interchange between positive and negative space. It’s not a realistic image that I want, but rather an abstracted language for playing with depth of field. I’m not entirely sure how all this will shake out, but the idea is intriguing.

Garden Space 3,  In process                                                ©2015 Elizabeth Fram

As I’ve been plugging away, I’m beginning to realize the benefit of investigating one area and then releasing it in order to focus on another section, playing all the various parts with and against each other so that they are essentially borrowing from one another in a visual “ending-each-other’s-sentences” kind of way.

Garden Space 4,  In process                                                ©2015 Elizabeth Fram

At this point I don’t want to be too concerned about the end product, but instead aim to relax any sense of preciousness by concentrating on several pieces at once. I think there is a subconscious advantage in considering each piece as just one in a line-up of several, rather than as a sole effort.   I’m finding that by working these pieces in tandem instead of sequentially, they inform each other and, as I work between them, I can follow and act upon any conceptual detours that crop up mid-process.

Garden Space 1,  In process                                             ©2015 Elizabeth Fram

The challenge of integrating stitch will come later; for now I’m just thinking about the base layers of color in paint.

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For a bit of visual fun with positive and negative space, take a look at Tang Yau Hoong’s website. He’s a masterful visual punster.