When I look out onto the garden in the morning, everything is quite still. Yet, when I concentrate on one particular part of the landscape, I can notice the slightest movement such as the wind through the grass. I think that our eyes are capable of registering a mass of information even if the impetus comes from far away in the distance. What’s more, focusing on this mass of information, the eye can distinguish any kind of change that might occur in this area.
Painting in nature allows me to savour these subtle changes that my eye is stimulated by. Working with colour, I try to re-create the sensation of the way that the world changes according to the light that is transmitted to my eye. It is an exercise that involves the system of sunlight on nature, the system of colours that the eye transmits to the brain, and the system of colours that I can mix on my palette. Not an simple thing at all.
Painting at night poses special problems for the painter. Having less light, the eye is forced to elaborate the information that it receives with major effort. The eye is capable of seeing in the dark but it is slower. The colours on the palette are not easily distinguishable either. However the general feeling is soothing. Maybe because there is less control of what colour I can mix and the changes that I can perceive are fewer.
[whohit]-Night Painting_EN-[/whohit]
