“On their backs were vermiculate patterns that were maps of the world in its becoming”
-Cormac McCarthy (The Road)
A few new tricks for the resin painting idea. This work has to be seen in person to capture the subtle moves on the layering of the paint. The last layer is suspended above the lighter layers on the trout to create a shadow effect that brings out the clarity of the lighter colors on the work. It is taking advantage of the process of applying the resin to embellish the pattern on the back of the trout. In an overdramatic expectation for the piece is to add movement as the viewer walks by. That will come in a later painting as the process of the work is starting to lean towards a tendency to reach into a true abstraction of the idea and sell the soul of one concept to gravitate towards another concept. In the near future the there will be layers applied in a more fragmented fashion and work on having the viewers movement dictate the action in the painting.
One subtle idea about this work is to have the fly trying to climb out of the water and onto the frame. This might justify the fly as a crossover of the water to the safety of the painting’s frame. Another ridiculous attempt at humor for the works. Of all the single fish resin pieces this one really pushes the darker contrast between colors. The rocks are hit with a lighter high key color and this allows for the shadow on the rocks to be more pronounced.
Brook trout have the most intricate patterns on their back that make up their unique camouflage. It is in the same line of seeing the back of a mackerel that has been caught in the salt water. The vibrant red fins are accentuated by the bright white and thin dark line that resides on the outer part of the brook trout’s steering wheels.