Mary Ida Henrikson

I like to do my underpainting of an existing grove of trees and then do an overlay with, in this case, a compass form over a canvas divided in eight sections. The challenge is to integrate and balance the choices.  For example, if I choose to put an abstracted form under a root, then it must be balanced within the surface of elements. Here, the white is complemented by a smaller vermillion sky area without breaking the surface tension that allows dynamic viewing.