Befriending the shadows

I spent a few weeks last summer trying to paint the shadows in the valley. The shadows in the contours of the hills are hundreds of feet high – vast, lumbering areas of darkness that stealthily creep around as I watch. Inside the shadows are many areas of colour, making it very difficult to translate them into paint. The more I stare and try to simplify them so that they fit onto my tiny canvas, the more impossible the task seems to be.

oil sketch of hill shadow

purple hill shadow

oil sketch of hill shadow, blue and purple

blue and purple hill shadow

oil sketch of abstract hill shadow

a closer hill shadow showing abstract shapes but losing the connection with its background a little

oil sketch of crosdale shadows

shadows in Crosdale

oil sketch, orange hill shadows

warmer shadows, orange hues

oil sketch shadowless hills

and in the end there were no shadows

Looking for something

Far away, in a town full of mysterious archaeology and golden light, it felt like I was looking for something, or even someone. But Van Gogh certainly didn’t live there any more, and it was difficult to imagine a time before cars prowled the streets.

There was definitely plenty of light and colour, accompanied by warm shade. Then there was the amphitheatre, appearing enigmatically at the edge of things and looking quite unreal lit by the evening sun.

Some of these things are needed in paintings, I think. The rich colours, the light and shadow and the feeling of an unknowable presence, seen or unseen, in the distance.

stone archway in Arles

golden light through the archway

 

plant pots under a window in Arles

fresh green, faded blue and stone

 

old boulangerie in Arles

old lettering, colours of orange, gold and brown

 

view of the amphitheatre

how can there be an amphitheatre at the end of the street?