#O62 Badlands

This evening just time for a quick, small oil sketch, it is about 8 x 10 inches. I was going to paint an oil version of my charcoal sketch of a river scene (below). But once I put down the horizon line and got some green and red into the foreground I could not resist turning this into something else.


In her book, Ten Windows: How Great Poems Transform the World, Jane Hirschfield writes:

In the last instants of a shark’s approach to its prey, 
it closes its inner eyelids for self-protection, 
and most of its other senses shut down as well. 
Only one remains active: a bioelectrical sensory 
mechanism in its jaw, a guidance system uniquely made 
for striking. 
During writing, in the moment an idea arrives, 
the eyes of ordinary seeing close down and the poem rushes 
forward into the world on some mysterious inner impulsion 
that underlies seeing, underlies hearing, underlies words 
as they exist in ordinary usage.

I suspect it is somewhat the same with painting – when the music, spirit and eye converge in some inexpressible synergy. Perhaps one could replace “poet” with “painter” and “poem” with “painting” in the last paragraph above.

Song of the Twelve Hours of the Day
Middle of the night— the first hour 
In my dreams, I go here and there 
and don’t know how to stop myself. 
Treading into pieces the green of the eastern 
hills and the western peaks, 
Then turning over to find one’s been nestled 
in the bedcovers all along.

Grant, Beata. Daughters of Emptiness: 
Poems of Chinese Buddhist Nuns (p. 102). 
Wisdom Publications. Kindle Edition.

Thanks for visiting!

6 thoughts on “#O62 Badlands

  1. Another nice sky. I like the yellows and the warm blues in it. The landscape again looks like where I live. That little peak would be one of 5 dead volcanos. Watch out for rattle snakes!

    Liked by 1 person

  2. I love both….the first one is reminiscent of a watercolor, at first glance. I adore the crazy (a good thing) blending of the horizon line on the first one. I am a fanatic for that kind of thing the blending, twisting, touches of color interaction in a painting.

    Liked by 1 person

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