I was so very concerned about the balance within this piece. I didn't want the color to drown out the drawing and I didn't want the colors to be placed in such a way that it made the the contrast in the moth wings difficult either. I started in the lower left of the piece and moved up, only to find that I had lost three sets of wings immediately above the foundry bucket. At this point I determined that I needed to break the pattern and so I started to paint the shapes exploding out from their initial spaces. It seemed to match the way that the moths were ascending out of their dark past. Even still as I was creating the exploded pattern I was still set on covering the whole top bit of the image until I realized that it wasn't balanced at all. I put out the word on Twitter and a friend suggested I just leave it the way it was. I hadn't even considered that, but when I did the piece started to feel more and more resolved.
The week has looked like a lot of this. I realize that most people work upon panels that have already been made. I work a bit counterintuitively on my pieces. My studio is so small that is difficult to find space to move around a bunch of panels with backers and also I like the nature of found and weathered wood. Sometimes these piece end up needing something different than the typical backer and so I like to leave the work open to options.
This is the last piece that I am working on. I was uncertain about the left half of this piece for three months. The rest of the image was all figured out for three whole months. I had drawn a robot head in the sketch that I was working from and it just didn't feel right. It felt out of place with the rest of the elements in the show and so I returned to my sketchbooks and flipped through the development of the imagery within the show. Upon doing so I became confident that I needed to place the moth eye in that space. Today I am working on possible tessellations to occupy the negative space around it.