"Tonstant Weader Fwowed Up" (2021 No.10, state 13), oil on canvas, 56x62¼ inches, {"And it is that word 'hummy', my darlings, that marks the first place in 'The House at Pooh Corner' at which Tonstant Weader fwowed up." - Dorothy Parker (1893-1967), in "The New Yorker", 20 October 1928, reviewed by Dorothy Parker as "Constant Reader"} Recently I have been hanging in there, pushing two paintings toward solid finishes. This enormity, my great desire to complete, may surprise you; it surprises me. There is great meaning in these paintings. I am obsessed. I cannot let them go the way a man cannot let go of a woman he loves. I find beauty in these; not simply the beauty as defined by the dictionary: “a combination of qualities, such as shape, color, or form, that pleases the aesthetic senses, especially the sight.” The beauty I see also reflects my deepest knowing, both emotional and intellectual knowing. The very process of completing these paintings is me exercising trueness to myself.
There is a core solidity to this drawing. This solidness is happening to all my work. It is happening now, in everything I do. It feels masterful. Have I arrived at a higher level? That does not matter, because my work is simple. I work to become more mindful. My one clear idea, my true knowing is this: As I make I am able to distinguish correct from delusion. My process is finding truth through recognition. This I believe: More true than false adds up to masterful work.
"Tonstant Weader Fwowed Up" (2021 No.10, state 12), oil on canvas, 56x62¼ inches, {"And it is that word 'hummy', my darlings, that marks the first place in 'The House at Pooh Corner' at which Tonstant Weader fwowed up." - Dorothy Parker (1893-1967), in "The New Yorker", 20 October 1928, reviewed by Dorothy Parker as "Constant Reader"} "Tonstant Weader Fwowed Up" is pretty much repainted. I wish to think through a few more details, but, like "Gonna Speak to the Crowd", it is approaching a place where there is nowhere else to go. To go, I must begin a new painting, which is exactly where I am headed. As much as I like pushing these excellent works to ultimate conclusion, I very much want to move on. Thankfully, I have my drawings, as one day activities, to keep my investigation of fresh ideas handy, and accessible.
This drawing reminds me of Picasso's "Three Musicians", the one in the Museum of Modern Art. This drawing is a depiction of vigorous, coordinated concert; it exhibits an enforced effort of mindfully following my knowing. Mostly, I know more than I depict. It is difficult to concentrate on truthful telling of that which I know. This drawing is a result of my process of throwing away questionable knowing during the act of staying true to real knowledge. Consequently, I think it successful.
"Gonna Speak to the Crowd" (2021 No.5, state 22), oil on canvas, 64¾x57½ inches, {"I'm gonna spare the defeated — I'm gonna speak to the crowd. I'm gonna spare the defeated, boys, I'm going to speak to the crowd. I am goin' to teach peace to the conquered. I'm gonna tame the proud." - Bob Dylan, "Lonesome Day Blues" (2001)} I realized "Gonna Speak to the Crowd” is not yet complete. I took charge, moved it toward a more active composition, an in-your-face, movement involved, structurally whole composition. This painting moved in the direction of my guiding principles: self-satisfaction and viewer involvement. Wanna see a painting that did ALL THE ABOVE, back in 1951; look below👇 For today's post, I considered many titles: “Dirt Does Not Save the Soul” and “Too Much Want” and “Less is More” and “Thick in the Head.” I settled for the one you see at the top of this post.
I can not help myself. I love to make marks. I love to draw. I love creating new forms. I love forms which emote memories of things past. But, when I look at my work, I see complicated. Simple is better. Simplification is necessary. I want to hit the viewer with great first impressions, ones that last. I want simple messages to myself, ones I immediately understand. I am the primary viewer. The drawing I show today should have been pared. There is an extra form. I am referring to that little one, the one that resides above the major form. I’d say this extra form is like a limbless torso, with a sombrero. Rather than erase, repair, I will make another drawing. The next one will be simpler. By the Way, looking at the painting, "Gonna Speak to the Crowd,” one more step is required. I thought I was done with it. No. A simple tweak is required. The painting, "Tonstant Weader Fwowed Up”, requires several more steps. Stay tuned. Check back in a couple days. Lastly, I am trying to simplify my sentences as well. Yeah, language is the same as drawings and paintings; less is more understandable. "Tonstant Weader Fwowed Up" (2021 No.10, state 11), oil on canvas, 56x62¼ inches, {"And it is that word 'hummy', my darlings, that marks the first place in 'The House at Pooh Corner' at which Tonstant Weader fwowed up." - Dorothy Parker (1893-1967), in "The New Yorker", 20 October 1928, reviewed by Dorothy Parker as "Constant Reader"} "Gonna Speak to the Crowd" (2021 No.5, state 21), oil on canvas, 64x57⅜ inches, {"I'm gonna spare the defeated — I'm gonna speak to the crowd. I'm gonna spare the defeated, boys, I'm going to speak to the crowd. I am goin' to teach peace to the conquered. I'm gonna tame the proud." - Bob Dylan, "Lonesome Day Blues" (2001)} "I'm late, I'm late! For a very important date! No time to say 'hello, goodbye,' I'm late, I'm late, I'm late!” This, from White Rabbit in “Alice in Wonderland”, however, Lewis Carroll never wrote this entire sentence, it sung in the Disney film.
I feel late. During the last few days my work in the studio looks back, not forward. The skills required to complete the two paintings I show today are 2022 skills. These paintings hark back to 2021 ideas. I am ready to move on, but, I desire to push these works to their proper ends. This is important to me. I am always working uphill, on learning curve. I am learning much, as I move these paintings to completion. My perfectionism is apparent in "Gonna Speak to the Crowd”; I thought it completed two days ago. Yesterday, I tweaked it. Now I can accept it the way it is. This is not true for "Tonstant Weader Fwowed Up”; which will take another step today. "Gonna Speak to the Crowd" (2021 No.5, state 20), oil on canvas, 64x57⅜ inches, {"I'm gonna spare the defeated — I'm gonna speak to the crowd. I'm gonna spare the defeated, boys, I'm going to speak to the crowd. I am goin' to teach peace to the conquered. I'm gonna tame the proud." - Bob Dylan, "Lonesome Day Blues" (2001)} The painting, "Gonna Speak to the Crowd", has arrived, here at last.
myself Sometimes I mull over my reason for the text within my Blog post. What’s it all about? It is all about me mulling over my Art, its direction, its validity, the degree I have made sense in my work. Today is no exception. This is a good drawing. I am establishing a center, in my work, and in myself. Today’s text is me patting on the back, “I did alright,” and “I am going the right direction.” Bravo for me! Now, get outta here and go make more Art! Take a look at a master, Franz Marc, controlling the viewer's engagement: In the painting "Deer in the Forest," Marc locks the viewer's gaze within this painting, through form and value. After the lock, Marc carries the viewer through a maze of wonder, via color, form, value, and movement. |
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March 2024
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