The Evolution of a Painting ~ Part 2
This month I'll talk about the rest of Stonehenge's evolution, and how the picture spoke to me. If you missed the first part of this article, here's the link.
As you can see it's now clearly a night scene, some of the stones are now wearing their night colours and the focal point for the energy of Stonehenge is starting to develop. At this point I did wonder where it was going.
In this stage all the stones now have the same basic night colours, the focal point is much stronger and if you notice some of the individual stones, be they large or small, are now making their own presence felt. If you look carefully at the stones, they seem to be forming in groups.
To me this is a softer image. The focal point is still strong but its glow is not as blinding, and more stones are now demanding their fair share of the limelight.
The stones have demanded some more work on themselves; the focus is coming more concentrated, showing itself more clearly as though from an inner source. Also the colours seem to be more crisp and clear.
With this one and the last two there is not much variation, but it is there, you just have to look for it. The stones around the focal point now seem to be shielding the light. To me this seems to be concentrating the energy more, making me want to go into that part of the painting.
Does this look finished to you; after all it's now signed. The stones now have distinct groupings; they definitely know their places in the dynamics of Stonehenge. There are also now stars in the night sky.
Well it's now up on our wall. As you can see the previous picture wasn't the final evolution after all. There has been a modification to the energy outpouring from the focal point; it's now softer, more subdued. The stone colouration has been redefined, and to me it appears harder to get to the focal point, there is more protection for it than before.
I've been watching the little stone on the left side quite intently throughout the paintings evolution, and to me it seems as if it's facing outwards at first, then it seems to slowly turn and face inwards, joining the others so to speak, while the grouping on the far right don't join in at all.
Well there you have it, or do you, the evolution of Stonehenge! It really has a voice of its own, and what's funny is my father (an atheist) said that not only did he like it, but that it spoke to him. What's even funnier is that before we went to the UK I thought, dreamed and meditated on Stonehenge, and that what Rayvensclaw painted is exactly what I felt! I didn't tell him any of that until after the painting of Stonehenge was finished.