Take five: "Listening to all that summer breeze" #3

I started to play with variations of green and blue. As if I was building a mosaic. I liked the effect. It was still unreal and figurative at the same time.

I left the dry parts of the pier untouched: A white gesso undercoat that covered the previous painting, 10 years after I created it. It's funny how some virgin parts of a painting can play a perfect visual role.

I almost didn't work on the hair either: Just a few basic brushstrokes of a Red & Phthalo blue dark mixture (I don't use black).

That looked actually interested enough. I thought I should stop there, and let the white vibration in the sea respond to the white dry parts of the pier.

But I was curious to go a bit further with the sea. I like painting water too much...

So don't try to find that painting in a gallery: It never made it out of my studio. It actually can't be found anywhere in the real world.