I use the word "schizophrenic" incorrectly. It is used as introduction to yesterday's drawing, in which there are two heads, each drawn in a different manner. The heads are of different quality; the man's head is drawn better. The higher quality of the man's head tells me about myself and my interests. I lost interest while drawing the woman's head. The woman is maudlin.
The painting "Two" continues to develop, but oh!, so slowly. At one point I believed the painting "Pond" was my entrance into mastery, but "Two" is a greater step forward. The struggles I have in finding the solution to "Two" do not match the struggles connected with solving "Pond." I want problem solving to go more quickly. I am solving the painting "Two" more quickly compared to the slow grind experienced in solving "Pond," which took at least three months. It is good I see the problems in my art which require solving. Making art is similar to being in a room and feeling a draft on one's neck; you simply close the window. As artists we must work to become sensitive to the drafts, so we may act upon them. By this process of elimination we make art. However, even with this process, an artist must learn to accept a work of art as "concluded," when further efforts no longer reward with better expression. Leonardo da Vinci wrote, "Art is never finished, only abandoned." The painting "Two" is now substantial, and close to being solved. Here is its current state... The one drawing from yesterday continues my exploration in the power of subtle distortion as expression of subtle human emotions.
It is cold (5°F), but clear and sunny. Today is a good day to get things done. Surprisingly, no day is remotely like another. This is a plea to myself to get on with it. Recently I have been contemplating my place in art, and life, as much as I have been acting it out. I want more action. Yesterday's drawing is an example of successful action, inspired by my needs, influenced by Jim Nutt's approach (see blog post of yesterday, 02/11/2011). Contemplation is moving me forward, but the sparsity of my work weighs upon me: I need a better measure of success than just a drawing. Why? It does not feel complete. Drawings are like making poems, while I want to make novels. Why? This I can not answer well. There is something greater in the depth of satisfaction I feel upon completion of a painting which speaks truly in a complex manner. This is akin to a novel, as a successful painting's complexity allows the viewer to endlessly revisit the work of art; each visit allowing new discovery. I know I am going to hear from poets because of this diatribe, but please take it as a pep talk to myself, and not a real attack on the limitations of poetry. I know every art form is unlimited in expression and scope, this includes the limitless range of expression available to poems and drawings.
First let me show you my work from the last couple of days—only a couple of drawings were made. I like the first one better. The second drawing flew away from me while working on the man's head. After I show my drawings I will tell you about an artist I consider an important influence, someone I have followed for many years, Jim Nutt. He works, and lives, in Chicago. An exhibit of Jim Nutt's paintings, entitled "Coming into Character," opened at the Museum of Contemporary Art Chicago on January 29th and will continue until May 29, 2011. Jim Nutt is essentially interested in similar problems to those I have taken on—human physiognomy and relationships. I also want to mention Ronald M. Shaich today. He is not an artist, but the founder, and Chairman of the Board, of "Panera Bread Corporation." Ronald Shaich was profiled in an article entitled "Etc. Hard Choices," in the February 7 - February 13, 2011 issue of Bloomberg Businessweek. In this article he was quoted: "My decisions are formed by where I want to go. You can see the sculpture you're trying to make. Then you have to iterate to get there." It is interesting that Mr. Shaich uses an art image in his speech ("see the sculpture..."), but more interesting is his means to problem solving, i.e. visualizing a goal, and then using an iterative process to obtain the solution. When I make art the goal is being formed as the art is being made. This occurs within individual pieces, and, on a larger scale, toward obtaining the overall goal of expressing my comprehension of existence through art. In other words, the main driving force in making art is the goal to comprehend one's observation of existence; fashioning the comprehension into substance is the act of making art. Shaich spells out a process that works well; the artist's first job is to identify the goal of each piece, then to problem solve through an iterative process. If this process occurs daily the artist will move, through his or her body of work, toward achieving an oeuvre which is self-rewarding in its expression of the artist's personal take on existence. This iterative process toward achieving a goal is similar to the process taught in engineering schools. To see how Dartmouth College's Thayer School of Engineering teaches the process select this link: http://engineering.dartmouth.edu/teps/images/ch1.pdf BTW: My visualization of the Engineering Problem Solving Cycle appears on page 2 of the Thayer School pdf document.. Let's take a quick look at Jim Nutt's work within the context of my reflexion on Ronald M. Shaich's view of problem solving. Jim Nutt has been making feminine portrait heads for over two decades. He is obsessed with this image. The image immediately below is dated 2010, and after it I post a cover from the February 1992 issue of "Art in America." There is change in his work; the 2010 work is better than that shown in 1992, but the leap, over two decades, does not appear drastic. The third work of Jim Nutt's is dated 1986. He does not seem to be making works with the couple theme any longer (I'll have to see his new show in Chicago to say this with authority).
The painting "Two" is now moving toward completion. The most dramatic portion of problem solving is over. Now I must cope with the most difficult, and the most creative, problems. What I do now, the quality of my solutions, will make the difference between a good, or an an excellent, painting. The decisions are many, and each is a subtle nuance of expression, from fingers and toes, to the purse of the lips, to the background and its variations.
The background works some places, and other places it demands more attention than it should, some places it takes away from the main focus of the painting. This is a color problem, and also a variation problem. The color, and its value, must vary to highlight the figures, yet still speak as a consistent surface and ground. Then there's the expression on the faces, and the expression of the eyes, the mouths, the cheeks, etc. This is getting boring. I'll show you the results of yesterday's work on the painting, then back to work... I remember one phrase from a lecture I attended (20 years ago) on how to reduce stress in the work place: "As people grow older they become more like themselves." The lecturer explained that people eventually give up their guard, grow weary of their desire to be liked and loved, and accept their impulses, stripped of reticence built on their youthful desire to be virtuous. This is scary if you know someone whose demeanor is difficult to take when he or she is 30 years of age, because his or her behavior will be an experience of hell at 60 years of age. I have found this to be true. The drawings I made yesterday took me another step closer toward becoming myself. A higher level of sensitivity to deep emotions is exhibited in them, not just in the physiognomies of the individual figures, but also in the touch of the pencil and consequent production of form (both individual elements and larger structures)—in the drawing shown first, look at the lips of the woman! I show you yesterday's two drawings in reverse order, because I believe the second to be most excellent and wish you to react to it first. When I was younger I examined all kinds of methods and manners of art making. I did not know who I was or what I wanted to be. I copied other artists, and wished to be "like them." So aging, and working, go hand in hand; I am becoming "more like myself" because I have lived and labored. The years of daily work is being rewarded with self‐knowledge. My optimism, and excitement, about making my art is increasing.
The painting "Two" is getting better. I will just show the current state of "Two," rather than writing about it. Mostly the man has changed, particularly his legs. Yesterday one drawing was made prior to my painting. Here it is.
Not much to report. Yesterday was characterized by distractions, another snowfall, and preparations for a trip in late March. I have noticed this: my studio time is less productive the day after I have made important progress. The rhythm in the making of the painting "Two" is a tempo of every other day. "Two" is an important painting. I have not worked on the painting "Pond" for several days. I feel my return to "Pond" coming. There are lessons in "Two" I am learning which will make the completion of "Pond" easier. Things are going well. There is no need to enforce a strategy of organization on my method of completing the several incomplete paintings. I feel the strategy is inuitively being formed without my intellect intervening.
Here is the one drawing from yesterday... The progress I am making toward self-realization is exhilarating. Yesterday the woman, in the painting "Two," came easily. This does not mean her transformation came without a lot of work. "Easily," in this context, means her realization spilled out of me as water does over a fall. She, and the man, took hours of time and effort. Yesterday was a good day for my painting. The man's revised head also makes more sense to me, as it replaces a boyish and bloated head (look at yesterday's post for comparison). Today the man's body will be the focus. The acuity, and skill, I am exhibiting, in making this painting, are instilling me with great optimism. I soon will have the stuff to make paintings which reflect the profound intricacy I feel within. Human existence is complex. I want my paintings to reflect my knowledge of this complexity. The realization on canvas of my perception will increase as the quality of my work better approaches the ideas and feelings I wish to express. Profoundness requires the highest level of skill to communicate. I am aware it is coming. At his moment in my life, insight, perception, and comprehension, are occurring rapidly. After all the excitement demonstrated in the previous paragraph, I must admit to disliking the drawing I made yesterday. It is a simple, "practice," drawing, and does not stand well as individual work of art.
Egypt is changing, and so is my art. No connection between the two, except for similarity in game plans. In Egypt, and in my studio, organization is in place to induce metamorphosis. I am not saying what I do in the studio approximates the risk of life and limb exhibited by the Egyptians. I am saying, both my work in the studio, and the Egyptian people's work in their revolution, display evidence that we, the living and breathing, will inevitably evolve, and revolutionize, if we are introspective, and if we are willing to do the required work.
I missed yesterday. Today I show you the result of my recent work on the painting "Two," accomplished two days ago. During process the changes to "Two" felt like a revolt. If you go back to the post from 02/01/2011 you will see the horrid green in the last version of "Two." I changed the background from Phthalo Green, to Burnt Umber, to its present mix, created by Ultramarine Blue and Titanium/Zinc White being applied over the old colors and thus dragging paint from the layers beneath it. Also, sensitive work on the figures have improved their emotive quality. "Two" is much better in both reality and reproduction. This painting is far from done. It is now substantive, and I will work until "Two" achieves its inevitable conclusion. I am optimistic the Egyptian people will accomplish a positive transformation, as well. |
To read my profile go to MEHRBACH.com.
At MEHRBACH.com you may view many of my paintings and drawings, past and present, and see details about my life and work. Archives
April 2024
|