Continuing on down the Sandy Strait, in the same area as Cliff I, this subject is a little more complex. Deep reds, sumptuous red-darks, comprising burnt umber, permanent mauve, alizarin, cadmium yellow deep, and white, to give, among other things, a variety of pinks …The same attention to drawn movement is applied, and for the same reasons, but the design is obviously different. The green of the sea is complimentary to the reds, and balances its area with the white band, or mass, across the top of the format. Moving up the canvas from the sea, which is an oblique plain, to the rock ledge, then sloping inwards up to the cliff base, a vertical plain to the top, with the exception of concave shapes on the way up … I like the large concave form on the right, coveting the ‘fall-out’ area. It strengthens the notional space, moving obliquely into the cliff face.
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