I like that there’s not a lot of paint on the surface itself. It feels scraped. It feels rubbed raw. It looks like skin with its tight folds of fabric. It’s stained. It’s hung to dry. It’s dry-rotted. It feels toasted by the sun. Moisture sucked out by the desert. The fabric swatches on the surface feel foreign and yet play with the shallow marks. There should be even more swatches, further developing the intricate ties of yarn.
Maybe instead of large holes, the top sheet should have more intricate smaller holes? That may mask too much of the surface underneath…
Going back to those smaller square pieces. I’d like to develop more of those little guys, furthering to source more shapes within larger previous paintings and within drawings and collages throughout my sketchbooks over the years. I have to figure out how to sustain the vibrant colors that initially exist before the inks are absorbed into the porous surface of the material. Maybe applying paint or deeper acrylic inks will push the colors forward more than the markers. But I like the drawn elements currently playing on the surfaces. That scratched texture. That shallowness of mark floating in space; floating in off-white.