The book, the book Hello, Goodbye Window was also done with paint but also oil pastel and it was inspired a good deal by children’s artwork and a kind of abstract all over kind of drawing that I like when children make, make’s shapes and images and then proceed to just kind of, just color in aspects of it, following their own, their own internal sense that may or may not look like it makes sense.
And I was hoping I could get away with that in this book. So it turned out very scribbly and I find that generally when you do, when the action of the creation of the art is visible and is still — is visible in the final work so you can see the scribble — the movement of the pastels which are like crayons and you can only get what you see if the crayon is moving at a certain speed.
Whether you notice that or not consciously as an onlooker you do know that, you can’t — if you’ve ever used a crayon you know, you know what it looks like when you’re scribbling rapidly or when you’re kind of dobbing with the crayon and that speed of the application of the colors and the materials somehow has an effect on the image itself.
I think it makes the image seem — it has its own, it has its own time in it in that you see how much time it took to make that image, if it’s a single fast moving line then it’s a quick moment. If it’s many fast or slow moving lines together you can almost judge exactly how much time transpires within the panting itself.
I think you can see this within, it’s thrilling to me to see oil paint — oil painted works where that time is also quite visible and you can tell — each brush stroke remains visible and the time of each brush stroke is there. Other paintings, the more academic type paintings, they might have been painted over years by one or more hands and so that kind of — that’s a different sense of time certainly but I like the, I like the more, the more immediate, the more immediate grouping, I guess.
