Parisian Nautical Object by Guy Yasko

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“I found this object at a marina in Paris, near the Bastille metro stop. I became obsessed with it, and went to the marina every day for a couple weeks trying to capture what was so compelling about it. Now, years later, I’m more interested in the city and the sky in the background.”

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9 Comments

Filed under Guy Yasko

9 responses to “Parisian Nautical Object by Guy Yasko

  1. This is so subtle, Guy, and yet it holds so much within it. When I read your note, I looked again at the sky, and see, as one does with clouds, a figure with arms outstretched. Lovely.

  2. Terrific painting. I can’t say how or why, but it totally captures the Parisian experience for me

  3. guy

    Thank you Susans.

    Susan T., i have a print of Hokusai’s Great Wave off Kanagawa in my cubicle at work. As i stared into it the wave, i noticed that same cloud formation above Fuji.

    http://ja.wikipedia.org/wiki/%E3%83%95%E3%82%A1%E3%82%A4%E3%83%AB:The_Great_Wave_off_Kanagawa.jpg

  4. Robert Vaughan

    Love this painting, Guy. I was fortunate enough to be in Paris recently for my birthday, and as Susan so eloquently says, this captured the essence of that experience for me as well. I also enjoyed your prose, and reflections on found objects: how, where they come into our lives, and their meaning. Lovely.

  5. I really like this painting a lot, though I can’t really identify what exactly I find compelling. The soft tones and the way the colors leak out and there’s so much white left in the background… I don’t know. I just know I like it. Thank you for sharing it here.

  6. Yep, Guy – this works so beautifully this week. Seems to say a lot in a small space, much like flash. And I’m so glad for this nifty link that WB created so we can all comment on the great art each week!

    • Thank you for the support, Ganymeder, Robert & Michelle.

      Managing white space/negative space is crucial in watercolour because that’s where the light in the painting will come from. With watercolour, one works in reverse. I can’t tell you how many paintings i’ve ruined with one wash too many, so knowing when to put the brush down is key. I imagine myself following the same aesthetic with other media & even with flash fiction.

      • Walter

        Guy – hope the small matte I did does the painting justice for you. I tried it with none, but the white of the page leaked in as ganymeder says of the colors in the painting itself, increasing the light you speak of coming from the white space, and it looked wrong. I couldn’t get a thinner one with a fade, and a stark line frame looked all wrong with the softer, looser lines in the painting. Thanks for submitting it Guy, everyone please keep them coming, we are always looking for good work that at least loosely can be connected to the theme.

  7. Pingback: Week #27 – lost in translation « 52|250 A Year of Flash

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