The media for making art has changed over the years so much that I feel my ‘doing’ is transparent. Its as if the artist hand has been subdued, reduced. Yet the mind of the artist is ever intact and should be relevant to the issues of contemporary human experience. I see no reason for things to be ‘this certain way’ or ‘that certain way’. This is not a new argument. It has been around since Kandinsky saw a painting of his in his studio upside down. He did not recognize it’s subject at first, but the image that held his attention.
Drawing and composing with the computer has opened abstraction into a region of fast paced experimental activity for me.
Sometimes I wonder if I am leaving anything behind. The trace of the hand by pencil or brush, for example. But I am not afraid to loose what it is that is there already. I must remain empty of the past in order to be filled with what is here now.
I can’t think too much, it clouds my vision.
‘Obsessed with naming and tagging’.
I put down more than what is really necessary / sometimes, the urge is there to stop / but I doubt that what I have already is enough / until everything is overflowing, bubbling to the surface / disrupting the peace, that I need to continue the meditation. Control comes from constant practice.
I see the computer like mind at the end of an idea. I could never draw or create sketches for paintings as fast as I do on a computer with a simple program. When I feel to change my mind on a color that covers, say, 70% of the surface, the change is immediate, I like that. It feels like imagination at work. It’s in my mind and in a matter of seconds, it is in front of my eyes. Yet there are lots of variables missing. For now I don’t mind that. That is why I need to see them as real paintings. As I see them right now in my mind the image is much bigger than what I see when I work on the laptop.
But I know, most if not all of the images I imagine, usually turn out to not satisfy the feeling I have whenever I confront a painting or something beautiful that really vibrates inside of me. Working direct has always been the way I think about creative working. Sketch remains sketch.
Every painting is performance on an
idea from start to finish.
“Take Franz Kline. There is no “plastic experience.” – There is no “painting” in the ordinary sense, just as there is no “painting”, for that matter, in Piero della Franchesca or Rembrandt. There is nothing but the integrity of the creative act. Any detail of the work is sufficient to establish this. The fact that these details accumulate and make what is known as a work of art, proves nothing. What else should an artist do with – time?” Morton Feldman
It is how I feel about people who tout superiority of intelligence. It proves nothing. Craft proves nothing. Intelligence is a by product of what we are. The consciousness that we know could be a by product of this planet and the one before. For me to depend on knowledge to create is like I am getting away from knowing what creation is. There is this awareness that I see the simplest of life forms have. They move to survive. I survive and keep things moving. What does this prove?
Can I be aware of the subconscious at work? Can I deliberately put the subconscious to use? Can I give it directions? But I am finding the tool designed to master intelligence is becoming my tool into intentional chance selections, unpredictable outcomes and identical productions all at once.
These are some of my sketches.
Aristotle suggested, Time as an Image. “This is the area which the visual arts later began to explore.” Morton Feldman.
I try to present a passage of time in my paintings. The layers convey this. And this ‘passing of time’ is held together like a collective memory in a persons mind. The surface of the painting presents them all at once and they can be identified as to which came first and last by their overlapping. The surface of my paintings are not illusions the way early abstractions were done. Doing realistic paintings we have to consider illusions because it is not real. But when we consider the surface of the picture plane, we are looking at the real and nothing else. My paintings are evidences of a passage of time and collective subconscious suggestions.