The first Broad Canyon Fire painting was dark and had the sun in it; this one glows with sunlight but does not have the sun. This image views the fire from the side, while the former is a view of the fire just before passing through/under it. This was the logical companion/complement to the original painting, and a strong enough choice to stand with the original work. It may be that these two works are as far as this series can go and retain pure authority to the subject and themselves and each other. Each must have its own necessity or it becomes derivative.
The artspeak is likely just an attempt to be able to quit, as the process of transparent washes and semi-opaque layering is burning through my creative patience; i.e. this takes forever and requires allowing the painting to pass through many stages of layering to build to where it finally comes together- and it is difficult to keep this all in balance and not lose focus on the whole for the parts for the days-long processes to effect a subtle change upon a subtle change to move the work along. Yet global warming says I’ll have the full sunroom for awhile yet before I have to move the trees and plants back in off the deck, and so the theme of beautiful armageddon under the global warming sun can push me further than I would like as well…plus, they are really something in real life and my love/hate of the process may just have to suck it up as this is about making Art. The finished paintings have a life of their own, which is rare; and respecting this is an artist’s responsibility to work toward the quiet and invisible thread of direction that seems to bring itself into being.