more of my rustic experiments in colour and texture, signed, dated, numbered, scanned and digitised.. it's a curious thing; some are landscapes, as i begin to see the inevitable influence of fields, horizons, tracks, hedgerows and fences... others orientate themselves into a vertical format, reminding me more of barn structures, doors, gateposts, exposed beams, the rusty corrugated metal of makeshift sheds.. all colours synthesized... it's either arable landscape or rural architecture.it seemed, at first, quite simple to reduce everything to striations of colour, but i have found this process to be very meditative, a discipline of mind and hand, as a more precise controlled painted line moves over a textural surface, new relationships in colour and texture occur, which influences the next painting action... it's intuitive and yet not entirely random, since intuition relies on some cognitive insight or emotional connection, the sum of our experiences.how many hues of brown: dark chestnut, mahogany red, russets, autumn berries, the seed heads of dock, wood bark.. the subtlety of greys: in soil, dust, the sky, clouds, a found flint, a beach pebble... finding analogies for interpreting these colours take me back to 'nature'... and nature has the last word in colour-coordination, as the approach of autumn signals.these are not studies for larger paintings, but in a sense they should be.. in abstract painting, a system, structure and order, is needed to turn the painterly mess of making into a process of clarity, with a purpose, with some meaningfulness.. just ten more to do, and the series is complete.. but as i approach it, maybe 100 is not quite enough.see more of this series of 100 small abstracts on paper on my art for sale page..