Hub and spoke.

Audio Collective

I've always had this relationship beside Tollandle.

I feel like I can never fully get all the way there.

You know, we're seeing gray scribbles, blue scribbles, white scribbles, red and, you know, peach-tone scribbles as well. I don't know, I keep saying the word scribbles, but that's kind of what it is.

It has a lot of movement in color, and so it's not just like a very stagnant piece.

It has what I know, because I just read it, what is like representing different pieces,

but before that, it like, even if it was nothing but literally just color on a gray background,

it's like scribbles that are like never really, it looked like the artist was moving very fast and very

fluid and not necessarily like thinking too hard about exactly what he was putting down and more

about just creating color and going with the movement of what he was feeling at the time.

There's also a lot of mixed medium being used, which kind of can add to the sense of the

artist wanting to find what feels right for the painting rather than having a plan,

mixing around. I don't know, it even looks like there's crayon or something, like right in the middle.

It looks like a lot of very colorful chicken scratch.

So the more I look at it, the more I'm seeing things,

and the more I'm actually seeing an entire picture.

Yeah.

Well, from a distance, I really like this painting and the colors up close.

It feels like it's a different experience than when you're seeing it from further away.

It just seemed more like an abstract, beautiful artistic piece from about 40 feet away.

And then when you get closer, you think, well, wait a minute, what's happening here? It's ruined really a little closer for me.

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