{"id":61,"date":"2025-11-12T10:00:00","date_gmt":"2025-11-12T10:00:00","guid":{"rendered":"https:\/\/kurato.jawad.work\/artist\/work\/moon-studies\/"},"modified":"2026-10-03T10:59:28","modified_gmt":"2026-10-03T10:59:28","slug":"moon-studies","status":"publish","type":"kurato_project","link":"https:\/\/kurato.jawad.work\/artist\/work\/moon-studies\/","title":{"rendered":"Moon Studies"},"content":{"rendered":"
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You cannot paint moonlight while you look at it. Your eyes change too much. So I looked, went to bed, and painted in the morning.<\/em><\/p>\n\t\n\t\t\t

Each study started on the night of a full moon. I stood at the water for an hour and made no marks at all. The rule was simple: no sketch, no phone, no notes.<\/p>\n

The next morning I painted what was left. What stays is less than you think. The shape of the light on the water, one dark rock, the color of the sky near the moon. Everything else I let go.<\/p>\n

The large canvas, Night Train, Lake Ferrow, came from a ride home in October. It is the only one painted from a seat rather than a shore.<\/p>\n<\/div>\n\t<\/section>\n\n\n

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\"A<\/div><\/div>
Study 01 \u00b7 January<\/span>

The first study was mostly cloud. The moon only came through for about four minutes.<\/p><\/figcaption><\/figure>\n\t\t\t\t\t\t\t\t

\"Moonlight<\/div><\/div>
Study 04 \u00b7 April<\/span>

Low tide, a still night, and a path of light so bright it looked solid.<\/p><\/figcaption><\/figure>\n\t\t\t\t\t\t\t\t

\"A<\/div><\/div>
Study 07 \u00b7 July<\/span>

A deer came to the pool while I stood there. It stayed in the memory, so it stayed in the picture.<\/p><\/figcaption><\/figure>\n\t\t\t\t<\/i>\n\t\t

<\/div>\n\t\t
Cut 01<\/i><\/b> \/ 03<\/span>
  1. <\/li>
  2. <\/li>
  3. <\/li><\/ol><\/div><\/div>\n\t<\/div>\n<\/section>\n\n\n
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    \n\t\t\t
    \"Moonlight<\/figure>\n\t\t\t\t\t\t\t
    \n\t\t\t\t\t\t\t\t\t\t\tPl. 01<\/span>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\tMoon Study, Low Tide \u00b7 60 \u00d7 80 cm<\/span>\n\t\t\t\t\t\t\t\t\t<\/figcaption>\n\t\t\t\t\t<\/figure>\n\t\n\t\t\t

    \n\t\t\t\t\t\t\tPlates<\/span>\n\t\t\t\n\t\t\t\t\t\t\t04<\/b>\n\t\t\t\n\t\t\t\t\t\t\tMoon Studies \u00b7 2025<\/span>\n\t\t\t\t\t<\/p>\n\t\n\t\t\t

    \n\t\t\t
    \"A<\/figure>\n\t\t\t\t\t\t\t
    \n\t\t\t\t\t\t\t\t\t\t\tPl. 02<\/span>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\tMoon Study, Deer Pool \u00b7 50 \u00d7 70 cm<\/span>\n\t\t\t\t\t\t\t\t\t<\/figcaption>\n\t\t\t\t\t<\/figure>\n\t\n\t\t\t
    \n\t\t\t\t\t\t\tPalette notes<\/span>\n\t\t\t\n\t\t\t\t\t\t\t

    Every nocturne starts on a toned ground of raw umber and black. The light is the only thick paint on the canvas. Everything dark stays thin and quiet.<\/em><\/p>\n\t\t\t\n\t\t\t\t\t\t\t

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    \n\t\t\t\t\t\t\t
    Ground<\/dt>\n\t\t\t\t\t\t\t
    Raw umber and ivory black<\/dd>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
    \n\t\t\t\t\t\t\t
    Light<\/dt>\n\t\t\t\t\t\t\t
    Lead white, a touch of Naples yellow<\/dd>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/dl>\n\t\t\t\t\t<\/div>\n\t<\/section>\n\n\n
    \n\t\t\t
    \"A<\/figure>\t\n\t\t\t
    \n\t\t\t\t\t\t\tNight Train, Lake Ferrow<\/span>\n\t\t\t\n\t\t\t\t\t\t\tOil \u00b7 100 \u00d7 180 cm \u00b7 2025<\/span>\n\t\t\t\t\t<\/div>\n\t<\/section>\n\n\n
    \n\t
    \n\t\t

    \u201cThe best nocturnes I have seen in years. She paints the dark as carefully as the light.\u201d<\/p>\n\n\t\t\t\t\t