Thread: Night & Day
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Unread 10-27-2016, 10:36 AM
Sharon Passmore Sharon Passmore is offline
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Join Date: Oct 2002
Location: Greenville, SC
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Hi Woody,
I actually don't remember why I turned the trees. It's possible that it was to do with the sizes of the two images, although cropping them to be the same size would not have been a big deal.

I suspect it was that I didn't want the light strings to appear as though they were garlanded in the tree. That would seem a bit cliché to me, like a Christmas decoration. In art, as in poetry, cliché is a no-no. Compare these two images of crying. In one of these the cliché turns it into a cookie tin.:





Where is the line? Is it "show and don't tell" as in poetry? (It's not like many works could stand up to a Picasso, just sayin')

I think I also preferred the light strings to be going the same direction as the branches because that visually rhymes better, having similar shapes and motion. The motion flows across all the segments giving the entire piece a unity.

I remember "Thirteen Ways of Looking at a Blackbird". http://www.ablemuse.com/erato/showth...=thirteen+ways
It was wonderful. I would say that it differs from an illustrated poem in that the art assumes equal importance, whereas normally apoem illustration takes a subordinate role.

Why is this reverse ekphrasis and not simply ekphrasis?

My favorite thing about a piece like the blackbird is that it is non-linear. This is a new artform since the computer age. Artists always embrace new technologies.
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