Mind at the end of Idea.

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 chickenconvene

idea from start to finish.


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

New Work

Sailor’s Warning

These paintings are constructed from discarded wood that I get from my surrounding environment.

I build by overlapping pieces and the voids are left to complement the dimensions of the woods and they becoming a positive

part of the whole. My work has always been influenced by what I can get from the surrounding landscape.

Sometimes I place sculptures back into the landscape, a reversal of my usual activity, to make them become a

part of and not separate from the environment.

Sailor’s Delight

Mission Rd. To Aintree Ave.

Bogota To Miami

Kgn. Ja. to Bklyn. NY