The making of this work involves shifting perspectives resulting from relocation. The painting's first layers were applied in my studio the week just prior to our state's shelter in place order. The work's compact size allowed me to transport it to my home, where – in front of my dining room window, looking out to the side yard – its geometric forms took shape.
A few weeks after isolating at home, I determined I could safely work alone in my studio, so I brought Lithe back for further development. As part of my internal inquiries in the interim, the concept of adaptation stayed top of mind; the idea of being flexible and open to growth. In The Endless Practice, Mark Nepo writes:
"The ever-changing practice of becoming human involves learning how to strengthen our heart by exercising it in the world, and how to refine who we are through caring, building, holding, and repairing. To do this, we must discover how to put down our old protections and stop interfering with the life-force that wants to open us like a flower."
I mixed the final layer, an inky blue-black, to flow with an almost syrup-like viscosity. There is ease of line in the gesture as it bends, but also solid form. In its detail, one tiny fleck of unmixed bright blue remains visible. Rather than blend it, I allowed it to dry conspicuously – evidence of a former iteration that helped to create the new tone, now in its process of flowing adaptation.
Lithe in progress in studio.