121 forms

This is an oil painting on a square piece of one eighth inch thick plexiglass that was primed with white acrylic gesso. The gesso was sanded extremely smooth and the grid was drawn on with pencil; droplets of gesso of a consistent size were then applied to surface at the nodes of the grid. The grid finally expressed only as raised bumps on the surface at the nodes. In this way the grid does not interrupt the color gradient painted onto it. i kept trying to talk to Andreana about gradients, and about continuous vs discrete steps, but she said that sounded like a pretty boring thing to talk about. I eventually ended up speaking with my good friend and fellow painter John Blatchford (http://http://www.jonblatchford.net/) about it. I can't quite remember exactly what it was that got me thinking about the discrete steps vs continuum question - i think it may have been david pye's book "The Nature and Art of Workmanship" (a book that was a large influence on many of my works throughout 2015), but also, i know that reading Jon Steinbeck's East of Eden, played an important role in my consideration of these ideas. discrete steps vs continua is sometimes considered in terms of the question of "the heap" but it's deeper than that really. Its the fundamental question of whether there are continuums, or whether our world, and experiance is actually made up of discrete steps. does time move continuously from one moment to the next, or does it pass incrementally, continuously through discrete sections of time, is space a continuous medium through which particles move, or do they step, in time, through discrete locations in space. Do is our experience a continuous movement through or is it a series of discrete stories, with discrete parts?? Maybe she's right, maybe itís just really boring. For this painting, for the first time, i did not draw the forms prior to painting them. The forms are scribbled in paint and then rendered by exaggerating with opaque highlights the highlights that occurred naturally due to the translucency of the paint