The vacuum I worry about is the bottom swash of crimson color in the painting "2017 No.4". I find myself thinking I should add flourish. Should I add something to identify that space in the three-dimensional artifice that is this painting? Or would said flourish diminish the impact of the painting? As usual there is only one way to find out. Do it. Step Back. Consider. Allow, or disallow. Change if necessary. I am not in the studio today. That may a good thing. I have 24 hours to mull.
Yesterday's drawings are me questioning. They feel a bit without purpose, except as questions. I see little things in these drawings that give me joy. It is in those joyful little things that I understand a way to proceed.
Yesterday felt confusing. I entered the studio thinking I had the painting "2017 No.4" under control, but no. My previous blog post was called "Plain & Simple." I wish it so, but that's not reality, at least for now. I anticipate changes today. Yesterday's drawing looks like some things residing on an extraterrestrial planet. New planets circling stars other than our sun have been in the news lately. This is no excuse.
Sometimes I think I make my images more complex than they need to be. The extras make for confusion. Yesterday I moved toward simplification. The lower left of the painting "2017 No.4" became a plane with no distractions (see previous state to understand the simplifications that occurred yesterday). Yesterday's drawings are also less cluttered with falderal.
The more reckless I feel in making my art the more pure it looks in its finality. What is happening to me? The clarity in yesterday's drawings is remarkable. Mess be gone! I jumped into these drawings, and the painting as well, working all of them without regard to anything except unveiling an image. This reminds me of Wassily Kandinsky, whose early work can look messy in its search (yet concisely made), while his late work can look organized and precise (yet from one to the next the search is open without regard to repetitive imagining). An early work, and a late work, of Kandinsky's are reproduced below.
I dislike the lower left corner of "2017 No.4" [as shown in its current state, No.4]. I will play with it today.
Two Works by Wassily Kandinsky (1910 & 1944)
I worry about the demands to perform. I tell myself, "Not to Worry." Practice makes substance. The more I do this activity, art-making, the more true it is. This trueness exists despite any conflicting and confusing emotions. In other words, it is not for me to judge. I must continue to believe that any activity, when humanly performed to the best of one's ability, becomes true through the effort of trying. It is apt for me to quote Oliver Wendell Holmes: "Every calling is great when greatly pursued."
Yesterday's studio activity brought two interesting drawings, and a turn toward more effective color and value contrasts, in the painting "2017 No.4".
Just when I thought I knew what I was doing yesterday comes along and makes me feel uneasy. Returning to the scene is important. That will happen.
This activity is a little like making sausage: take some meat, add a little spice, some filler, and gadzooks, what do you got? I am thinking about the final state of the painting "2017 No.3", posted yesterday. Gadzooks! It's a finished product! I have begun anew. Here comes the painting "2017 No.4"! It appears that I am seeking daunting solidity, i.e., an image that forces the viewer to believe its presence is substantial, that one must pay attention. You can also see this pursuit in yesterday's drawings.
The painting "2017 No.3" is complete. It is what it is. I can do more. Process is king. A new painting will begin today! In my drawings I continue to explore individual forms, as individuals and as relatable to one another. The solidity of these drawn compositions, creating as they do a firm sense of three-dimensional space, will probably be the instigating theme of the next painting.
Substance is acumen. It is being found by me, slowly. Each studio effort educates me, informs me, brings me closer to knowing authenticity versus trash. I wish to give some thanks to Giorgio Morandi for his efforts, which are clocked into me as information relating to my own impetus.
Many revolutions have come and gone, but it seems to me the overall effect is things are getting better. Thus goes my art. The painting "2017 No.3" is better than ever, and yesterday's drawings are a revolt, away from the scatter-effect of many of my earlier drawings toward concise forms within concise space. This does not mean I have found a home, but it does portend change. Change, in this case, feels good, very good!
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