mind the mind

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.

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Dance in the dark

Art has always been and always will be representational, no matter how you look at it. Successful art elevates our response to the mysteries of life and consciousness. Beauty is not a thing to prejudge it usually appeals to me whenever I see or experience for the first time. If I were to judge things by prejudice then I would be limiting my experiences before they actually happen.

One reason why I opted towards the abstract in art was because I felt that the ideal most representations of the sacred in life was always anthropomorphic and I wondered why is it that we see all the world through our own image. Why is it that we made god in our own image and then claim it to be the other way around?

I had an exercise in art school to do a drawing for an alien being describing where we live. All I could think of was energy and how could I represent that. I think the birth of abstraction in art came from a rebellion against the rule. Somehow I believed that true creative transcendence came about through an exception to the rule.

I wanted to find that exception from within myself, open it and let it happen. Yet I had subjective preferences or prejudices that needed to be identified and let go of. Things that became important to the development of my faculties? My environment; the landscape, the culture, the ways we walk and do things like drawing and writing.

Religion was too much on intelligence, too much on what is known and proven already. I went away from the light and into the dark to walk, swim or dance.swan stew.

Mondrian claimed to be a dancer but he was a very stiff one, robotic. Mark Rothko never danced he sat still with space like ‘The monk by the sea’. Cy Twombly never really danced he had good uninhibited handwriting.

Improvised Dubb

I have to do enough of the same thing to transcend it. The repetition becomes mindless but my mind starts to question the reasons why I do what is being done. Am I flat, dynamic, mimicking others or original? So I look at other artists who I think are great.

In this instant it is Stuart Davis. His compositions are open and at times packed with things. He is very urban. I live in a rural area there are mostly trees and fields

. In the winter nothing but branches in summer, leaves dominate. But I cannot eliminate the urban from my mind, so I compose without a determination. Stuart Davis was influenced by Jazz and Cubism. I am interested in compositions by line and improvised Dubb.

A computer program does make random selections and improvise with all the possible combination but it has a limit. This makes me wonder if each individual mind have limits too. If you look at it, we are all born at a particular time and place. No two are exact, even twins. Could this be when character is hardwired into a brain and that, a persons life is predetermined but with many variables at the first breath. Chances, and level of confidence, and very early life experiences, and how we each do things, the way we do it etc, on and on is set from beginning.

berry governed It is my responsibility to know what I do when I am doing it and have the faculty to make a decision.

The Act

“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. ??????? ??????

Spontaneous sketches

Improvised notations are immediate with ‘paint’. Sometimes I have not enough patience with myself. I try to keep abreast with the passing of time whenever I am jotting down ideas. Working from scratch with paint, charcoal or pencil is slow and it sort of disrupts my flow of thoughts. The computer, though it is limited with color and quality of line it enables me to work fast. This clears the way for me to do a formal execution of the sketches on canvas. I have not done any of these as actual paintings yet but as soon as the temperature gets above freezing I will be able to get into the studio to work. The colors and hues may change then but it is a part of the process of spontaneity that is important to me. It is subjective, subconscious selection at work.pingg momants snapp whisp synapp pictures

Time as an image

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.

Object Lines

I once saw lines as a way of dodging the object. I felt there is no need for the object in abstraction. But I was wrong. For all the forms that arrive out of the intentional theoretical doodle and abstract shorthand writing my thoughts were mainly on the forms produced and not on the lines that make them happen.

Yet lines by themselves are strong objects and formal forms and not to be confused with the objectified brush stroke.101_3018Here I have an example of a line created with the intention of filling in alternate spaces created by line crossing line .113_3135I use one continuous line that starts and end at the same point for each group of forms.113_3124113_3119113_3129 Eventually I come to the conclusion I don’t have to define a company of forms through blocking, instead, let the lines mature into their own rights like hand writing/penmanship, or algebra and geometry on a school room chalk board.101_3034113_3111113_3107101_3032101_3030