Museum Lighting Raking Across The Canvas At A Low Angle And Picking Up The Texture Of The Paint And The Weave Of The Linen And The Fine Network Of Cracks Across The Varnish, The Rope Running In Parallel Wraps Around The Crossed Wrists And Spiralling Down The Upper Arms And Across The Chest In A Harness Pattern And Looping The Waist In Three Bands And Descending In A Doubled Line To The Knees And Knotting Off Against The Wood With Half Hitches And The Individual Fibres Catching The Light Along The Twist And The Rope Biting Into The Fabric Where It Crosses The Body, A Single Cool Light Source From The Shafts Of Morning Light Entering From The Upper Left And Striking Both Faces Along The Cheekbones And The Edges Of The Jaws And Leaving The Shadow Sides In Deep Umber Porno IA

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Oil painting in the dramatic figurative tradition with visible brushwork and fine craquelure cracking the varnish and the paint built in glazed layers over a warm umber ground, two women in a cedar clearing on the Pacific Northwest coast, camera pulled in close so both figures fill the canvas with the framing cropped at the mid-thigh and both faces rendered in fine detail, the first woman standing behind the second and pressing her against the carved pole with one hand braced against the wood and the other drawing a length of rope around the second woman's waist with her hip cocked and her shoulders turned three quarters toward the viewer, the second woman with her back to the pole and her arms raised above her head and her wrists crossed and bound in tight parallel wraps and one knee bent with her foot lifted from the ground, the first woman with a direct steady gaze and dark eyes and a slight knowing curve at the corner of the mouth and high cheekbones catching a warm highlight and full lips in a muted berry red and the individual texture of the skin visible along the throat and the collarbone, the second woman with her head tilted back and her eyes half closed and her lips parted and her cheeks flushed and her throat exposed with the tendon standing out and a sheen of sweat along her upper lip, the first woman with black hair braided into a thick plait and a strip of red trade cloth at the crown and a choker of dentalium shells at her throat, the second woman with dark brown hair loose across her shoulders and caught under the rope at her throat and bone hairpipes at her ears, the rope running in parallel wraps around the crossed wrists and spiralling down the upper arms and across the chest in a harness pattern and looping the waist in three bands and descending in a doubled line to the knees and knotting off against the wood with half hitches and the individual fibres catching the light along the twist and the rope biting into the fabric where it crosses the body, a dark wool trade blanket fallen on the ground and a folded cloth of pale buckskin and a beaded pouch at the base of the pole, the totem pole rising behind them carved from a single cedar trunk weathered to a silver grey with a raven at the crown and a beneath it with its forepaws gripping the trunk and a whale below with its tail turned upward and each figure painted in black and red and blue green with the formline design carved in shallow relief and the paint worn along the high edges and dried moss in the crevices, the cedar forest behind with trunks rising straight and bare to the canopy and the ground covered in ferns and a fallen log across the middle distance and low mist drifting between the trunks and shafts of pale morning light breaking through the canopy in long diagonal beams and the individual dust motes suspended in each shaft and a creek running dark over stones at the far edge of the clearing, warm flesh tones built from an amber underpainting and deep umber in the shadow along the backs and beneath the curve of the hips and behind the knees, a single cool light source from the shafts of morning light entering from the upper left and striking both faces along the cheekbones and the edges of the jaws and leaving the shadow sides in deep umber, reflected light bouncing up from the pale buckskin and the moss and lifting the shadow side of both bodies and a warm reflected light from the paint of the pole catching the undersides of the arms, mist suspended in the air in bright and dust motes drifting through the light shafts, museum lighting raking across the canvas at a low angle and picking up the texture of the paint and the weave of the linen and the fine network of cracks across the varnish, a gilded frame at the very edge of the composition, high dynamic range holding detail in both the bright light shafts and the deep shadow of the forest, and a palette of warm flesh and amber ochre and cedar grey and raven black and oxide red and blue green and forest moss

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