One of the remarkable things about creating paintings is that each component or element contains its own language. An entire piece well done is like an orchestra of
well tuned instruments, each speaking its voice while melding with the voices of all those other instruments within the orchestra. Colors, values, edges, shapes, textures, lines, direction, size--each of these is equal to a single orchestral instrument, each with its own voice.
Edges of shapes or of brushstrokes in our painting are an important voice. They tell our eyes when to stop, pause, travel slowly, look in one direction or
another. They can speak softly or sharply, hesitantly or with confidence. They can flow, connect, isolate and on and on.
Among our contemporary master painters, Richard Schmid was especially adroit with the language of edges. Each of his paintings is a full orchestration of the voices of
edges. In one of his still life paintings, I've circled three sets of edges and suggested what they might be saying.
Another contemporary master painter whose edges are particularly expressive is Qiang Huang (pronounced Chong Wong). In his painting, "Coconut Trees in Abaco", I have circled four sets of
edges. Pause with them for a moment, allow them to speak to you and then, interpret in your own vocabulary what they are saying.
In painting, edges are far more than just boundaries of shapes. If we honor their potential voices while we are composing, rather than arbitrarily use them to distinguish one shape from
another, we open up for ourselves a fresh and exciting freedom for expression.
Enjoy a stimulating weekend!
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