Decided to paint today. I had four paintings awaiting a glaze: Gynocratic Paedoparanoia, The Safe Box, Hand of Destiny and the new Shakespeare one which isn't dry enough. Gynocratic Paedoparanoia was the oldest, so I painted that:
The title appeared as I quickly and unconsciously sketched the idea. Its genesis was a painting about a fear of sex in a similar manner as the fear of Aspartame for the compositionally related work, but after this lightning thought, the idea was drawn very quickly as I usually do, with little conscious thought or intervention of reason. I prefer this because it creates dialogue by mystery, the enigma. It has a meaning, because it was authentically drawn from my waking dream (we always and constantly dream, but our waking mind often obscures these lower and complex thoughts), but even I can't be sure what it means.
The final painting is very close to the idea sketch:
I like how the figure and her same features in the right monolith look like internal vs. external dialogue. The half-complete rainbow (it has red, yellow, none, and blue) and second set of violet 'lips' were added during composition, partly as a second, similar, reflection.
In technical terms, the fantastic colour of the Blockx Mars Yellow Orange dominates the monolith. I've started to make more use of zinc white again, its fine dust useful for the highlights (I tend only to use it in specular highlights, hardly ever mixed and almost always in a topmost layer). My concern when underpainting was the MAMA text, but it was very easy and enjoyable to glaze.
I painted while listening to Brian's Gothic Symphony, which is epic in every way, for me, far more unified and better than the Mahler he is sadly compared with.
