All I can tell you is... this is practice and it is making me better, more capable of doing what I have to do.
It is silly of me to state the obvious. Of course, if one does the work one gets closer to self-knowledge. It is not a losing game, but it is not one with a finale either. Endless except for mortality, the finale will be viewed by others, but not my me. I am in the middle it. I have chosen to act this way. Yes, not a losing game, but one that is the sum of all directions taken, misdirections as well. Still, at this writing I feel closer to self-truth than I did yesterday. The works shown today look to me like ones which accept my possibilities and my limitations. And so it goes.
...negative space that is.
Yesterday's drawing continues my recent tradition of reacting with drawings which relate to the painting Untitled-03·19·2014. The negative space in that painting is formidable as well. In the painting a man sits on a chair. To me, the manner in which the chair's back right leg hits the floor is very satisfying. It establishes a spatial ground, as well as a color ground, and simultaneously points the attention to the female figure lying on her back. The diagonal play manufactured by this simple device is remarkably expressive. So, yesterday, when I began this drawing I began with the bench sitting squarely on the floor. It established the spatial-ness of the drawing without the use of lines to force the perspective (as I have done in the past ― e.g. the drawing Untitled-03·15·2014 posted on 03/16/2014). Very good, and a true insight.
Whenever I return to an upfront and personal drawing of a couple I know I am just practicing, just showing up.
This drawing began with me questioning the means to solve the large flat diagonally-divided space at the top of the painting Untitled-03·19·2014. I also wanted to do better with the forms I feel were mishandled in drawing Untitled-03·22·2014 (the leg of the woman in that drawing have a different value structure that separates them from the rest of her form). Yesterday's drawing took me the entire studio session, but I feel I dealt well with both of the problems I encountered in the mentioned painting and drawing.
Yesterday's drawing (below) was completed before I made the changes to the painting (above). I wrote about this in yesterday's blog post. My drawing and my painting are now in a dialogue. It is a more profound dialogue than the drawings being simple studies for the painting. I am questioning the manner in which the fabric of my technique effects the expressive quality of all my work.
The studio work is becoming more intimately introspective and reflective. Yesterday's drawing marks further movement in that direction. The woman in yesterday's drawing is inspired by the female figure in the most recent painting, Untitled-03·19·2014. At first glance the lineage of yesterday's drawing may not be easy to detect. I can assure you, this drawing began with me wondering about the woman in the painting. This reflective introspection is not unlike the manner in which I approached the drawing of the man I reproduced in yesterday's blog post. And so it goes. My manner of feeding off myself has changed. It is different because it is a step by step dialogue with myself, rather than the more confusing search I had been making in quest of authenticity. I have accepted my authenticity. I have now shifted to the quest to make my products as expressively true as possible.
Yep. Yesterday's studio session began with a drawing (above), a study for the newest painting (below). That's all I've got. Everything is in process, so we must wait for more information to form itself before further commentary.
I will not say much about this new painting. Today's post title says enough. Also, the painting speaks for itself. The negative space is very important to this painting's expressive qualities. This painting is more than an experiment and more than just another item of research. It is me making an effort to find more accurate self-expression.
Yesterday became a day of revisiting the ways and means I draw the human face. It was important. It went well. These drawings, I believe, are preludes to a new painting. I have stretched a large 60X60 inch canvas. Before beginning the new painting I apparently needed to revisit the drawing skills I use for minutia. Here they are, 1, 2, 3. The best is the last. All of these images pale in reproduction when compared to the actual drawings. If there is anything I have learned about drawing over the last six months it is the anchoring punch of black. You can see this best in in drawing #3. In that drawing, the end of the man's nose is punched in black, as is his right eye (viewer's left), and a couple of areas in his hair line. These give the image moments of staccato against which all the rest of the marks play. Again, and unfortunately, reproduction does not do this as well as the actual drawing.
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