Rich Clickings...

A double whammy of 'roadkill' cans as found consecutively upon related sections of the 'local double black lines' road markings this morning: the prevailing drying conditions following a rain-soaking meant the painted lines & tarmac surface were much less closely-toned than preferred for the habitual subtly-modulated, harmonious monochrome integrity of the picture plane, in best modernist fashion, but still the overall compositions as possible to photographically frame were too inviting to ignore, given certain incidental details.

In the first instance, a slight curvature of painted line again occurs, as has done recently, lending something of a different dynamic to the composition: one might note, too, the more rigorously straight-linear most-recently applied layer of paint (black over black over yellow, as has occurred 'historically'), cutting with swift precision through the previous curve(s), upon the lower of the parallel lines, thus creating a keen formal dialogue with the upper, slightly more languid arc...


Whilst a subtle, shifting difference in pictorial framing allows the incorporation of a complementary touch of the original yellow paint showing through the eroded latterly-applied grey/'black' layers, opposite the flattened, 'still(ed) life' object, with which it thus engages in a certain relationship of primary colours, punctuation marks amidst the prevailing grey monochrome of the overall, 'allover' surface, & also coincides with other instances of revealed yellow that recur along the lengths of the lines.
One might also note the clusters of curved marks upon the lower straight line, establishing more subtle textures & another more localized complementary dialogue of formal features.
Just as found, framed thus, this is a richly detailed pictorial space indeed...


The flattened object itself also introduces coincidental formal dialogue with the curve of its base & that of the line upon which it lies, whilst the circular design of its branded identity contrasts with the predominant linearity of the whole.
In more fanciful contextualizing mode, & allowing for a little slippage, one might also suggest such design's acknowledgement of the oval logo emblazoning Jasper Johns' iconic 'Ballantine Ale' cans & also, perhaps, the artist's even more iconic targets...


Within a matter of yards, traversing a junction & a little further on, a second example of 'roadkill' was to be found nestling besides the beginning/termination of another section of double black lines, this particular feature thus providing a welcome, much less frequent (& accordingly more precious) formal, compositional treat amidst the pictorial whole as framed.
Note also the instances, once again, of surface erosion-revealed underlying yellow paint, such colour as also occurs upon the painted surface of the flattened object of the can, &, furthermore, at least as observed within the upper of the parallel horizontal lines, the textural detail of the obvious 'archaeological' visual evidence of the three clearly separate strata of the painted lines as applied over the course of the temporal narrative of the road surface's history.
To conclude, & in rather a neat formal coincidence, one might also claim the near-circular form into which the can has been accidentally but serendipitously compressed under the circumstances serves as something of a 'full stop', a sign of confirmation, at the end of the painted lines, as it were...