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page 2 Donaldson-Notices something in the head that doesn't match the fluidity of the rest of the piece. Auld- There is a contrast in everything, I was trying to be totally different. Trying to capture the spirit of festivals jubilation, spirits, the feeling of music coming from every angle. Donaldson- Notices the area with the leader playing an instrument. That area doesn't seem to groove well with the piece. Stevens- Points out the area at the bottom as being more quiet and angular, solid with large pieces. The width of the black line remains the same throughout. He suggests using lighter colored lines and varying the width. Donaldson- The color would vary the width of the line. Stevens-Line contains, do you think that generates energy? Smith -Perceives the visual chaos because of the color ranges. The range of hues is just above high intensity and contrasted with a range of browns. Michael Auld - I've heard much criticizm [[criticism]] of the line used in Rose's paintings. People seem to equate it with the comic strip kind of thing .. Rose uses line for an important reason. The traditional point of view, a flat traditional motivation. Stevens- Observers are preconditioned to equate line to comic strip. When the colors are side by side they tend to vibrate more than you can stand. The line brings it all together. Talibah- The way Rose uses the line brings it all down to earth. Donaldson- Has problems with the line changing from organic to geometric. Attention turns to a circular piece of hide Rose has strung up on a hoola [[hula]] hoop structure. Stevens-It needs to be more precise. Talibah-There is a disharmonious severity, attributed to extreme black and white and high intensity colors. The colors read as if directly out of the jar. Auld- The circle is a sacred shape, the hoop of life, we exist in different circles of life. The design for the work came from the Powhatan Indian tribe of N.E. Washington, D.C.
