So here's this new thing (a quickie photo from Emily's studio wall - the whites are blown out, but you get the idea):
I showed this to Emily yesterday during an excellent studio visit. We discussed this picture at length -- the pros and cons of it all (formal and conceptual). For all intents and purposes, this is done save a few minor adjustments. We then discussed my direction for the next works and we achieved a greater clarity in that regard; I'm excited about it. My concepts are solid, but the direction of the formal application is more experimental. Should be interesting, but at least I know it's do-able. The big scale thing is so daunting. I can do it, but large blocks of time are needed. With my teaching schedule as it is now, that's just impossible.
I got a few shots of Emily's studio. Below is her first donut drawing. This is seminal, as it spurred her alkyd/graphite work.
Here's the "lesser" wall space on the west side of Emily's studio. The panel painting is complete, while the oblong canvas is undergoing a bit of cropping adjustment. Two charcoal underdrawings are there on the floor, one of which she will probably efface and start over.
And here's a table full of donut setups. Some of these guys are months old. They don't get moldy, but they do compress and start to look strange. She likes that.
In all, a really edifying visit. It was enhanced by lunch afterwards over in Natick with her husband, the abstract painter Penn Young. They shared some great gallery-talk anecdotes and I fielded wine questions. I'm grateful for these fantastic experiences with these amazing people.