Peter Lanyon

1.

conscious of discontent with treating
emotional involvement landscape
    stronger than ability to translate
    commitment into paint

perspective diminished
    to break relationship in distance
    seen
instead
    stress particulars
    attention
    to the needs of the picture

scraping paint from surface
act on the chaotic consequence of romanticism

2.

Porthleven, 1951
preliminary work drawing on the spot and
    six three-dimensional constructions
“At the time I had not evolved a way of
developing an image in my mind and had
to explore it in actual space before painting it.”

a relaxed articulation of parts
    altering the spectral distribution of
light emission
a matter of relating
    to some physical experience
Silent Coast, 1957
calm
    declared attempts to paint the weather
absent of drawing the paint pushed    edge

3.

1959 gliding
    direct contact
with a non-substantial atmosphere
diaphanous flowing paint    areas
place through the experience of
    the person involved
recounts
things and the way they change
Colour and Form marked in margin
“time recorded by space: an augmentation
upon the surface”

4.

Offshore
    the back of the painter’s head in foreground
for the Civil Engineering Department made
The Conflict of Man with the Tides
    and Sands    a mural
visualisation of research
    loose-boundary hydraulics
movements in rivers harbours estuaries
the mechanism of waves
    behaviour of solids suspended

5.

birds describing the invisible
    “their flight across cliff faces
    “their soaring

air as activity
“the thermal itself a current of hot air
    rising and eventually condensing into
    cloud is invisible can be apprehended by
    an instrument such as a glider

“hot air rising from ground a large bubble
    storm conditions
and down-currents as referents

6.

signals of received experience
through “considerable training
“precipitate marks which relate
    to information
“beyond the inspired guess tempo
    certainty
“the surest way to inhibit development
    is to remain at the guess”
the mark
    itself                                            important
through a small change of aesthetics
variations of gliding tempo
    the slow rise the sudden
dive and hover
    motion    directional marks

7.

introduces RED
    the movement goes
different
speeds    does the eye
across and into Soaring Flight, 1960
horizontal ground static against
the
dynamic    the red sulphide of mercury

“I don’t stand and look
“I move over the place”
“all my feelings meant breaking away
    from representing space
organising space    in    a    picture