I appreciate that a design so small can be made up everywhere, in different places and at different times of the day.
When I decide that it is finished, I put it among others, as a good friend who made me company all day.

I’d like to establish a distance to appreciate my work.
The field of view should be occupied by the painting.
The live experience is crucial for an exclusive narration of what we look at.
Because the painting, is not a two-dimensional work that I look in a photograph.
The photograph is a distant trace that we know and follow until you reach the direct confrontation with it.

the web offers an interesting and voluminous amount of material. This I found today has some very unique features.
In addition to giving valuable advice on the technique offers for the first time, in a manner so wide a cataloging of colors truly accurate.
Here is a link to the full text:

In this detail in particular, I hope you can see how the blue is lay down. There’s not brushwork. It alights on the canvas as something safeguarded, precious.

A link between the time and the sign.
Without sign there is no time, there is no beginning and the arrival is extremely provisionally definite.

I intend to resume my train of thought about the drapery’s drawing.  I have always been fascinated by the depiction of life in the fabric volute.

“The first patent for a ballpoint pen was issued on 30 October 1888, to John J. Loud, who was attempting to make a writing instrument that would be able to write “on rough surfaces-such as wood, coarse wrapping-paper, and other articles” which then-common fountain pens could not.”

“The Basil Spencer Tower is so far and so near inside Hyde Park”

Anything that I paint is highlighted by the desire to cover more roads leading in one place that is not outside of me.

I have found a drawing that i have painted in Hyde park in summer.
Now it is an oil on canvas.
Tomorrow I’ll finish and show.
Having an limit, an outline don’t like me.
Nobody will force me to have a style.