This drawing came on a day when I received a vaccination in the morning; by 2pm I was feeling achy, physically compromised. I worked into the late afternoon, did this drawing. Am I happy with it? Not so much, which could be a distorted view because of my continued physical weirdness. Tomorrow will be better.
I bragged back on 8/27/2022, “These two drawings are among my very best.” They are now even better. These alterations are a clear sign I have jumped to a higher level of Mastery.
I think this is a "Eureka Moment" — At Last I've accepted my mission. I fought hard. I fought for too long. I tried to defeat my instincts. I tried to challenge the instincts of the Masters. In drawing and painting. identifying a theme is most important. I always disliked the work of Jackson Pollock; now I know why. Pollock had difficulty finding an idea, a theme, an impetus, a reason to be. As result, Pollock scrambled everything, made it look mostly unreadable, thus he tried to hide his inability to find intention.
Here I am, accepting myself. I do have ideas. I do feel. I do know. My art is becoming centered, like Art made by Picasso, de Chirico, and many others. Wishing to centering is being oneself. Pollock missed this particular boat. Pollock’s paintings are nonsense made real.
These drawings, and the one's I have recently revised, are recognizing the important of being centered, both philosophically and visually. I will continue to revise my failures, force them to come to reality of self-importance. Every one of my works must be able to identify itself in terms of its reason to exist. This is me centering myself by centering my works of Art.
Come back tomorrow to see me transform my first drawing of 8/26/2022 into one better centered, more intentional, then it is now.
By drawing I am practicing touch and flow. It is here I an undergoing sensitivity training. The dynamics of value, form, and space (negative and positive), are within me; I am practicing making them outside of me. I am an athlete in training. I am sharing my sensitivity with you. These two drawings are among my very best. Most interesting is the technical aspect of centered composition, which is especially true in drawing No.2. Centered compositions were Picasso's default. A wide range of play in form, value, and space are allowed when centering is achieved. Centering grabs the viewer. When viewer is secured, the possible journey is wide and long, a fullness of dynamics and emotions are allowed.
These two drawings are proof that getting right ain't easy. I had to go in, slice these two apart, alter by erasing and marking. They are better. I proved to myself going dark is not better than being careful with touch, delicacy and sensitivity. Obviously, I can go both ways. Is one more successful than the other? Not sure, but now I know this: I enjoyed making the more sensitive drawing more than the one pounded to submission by marks on top of marks on top of marks.
There will be blood. It surges. It pushes. It finds its source, Then back again to rejuvenate. As always, the wish is it faster and easier. Will I ever get there? The journey is worth it; I always feel true steps are back and forth, but lead to forth. This drawing is good. This drawing questions. Is it an absolute answer? Absolutely, "No!"
This revisit to a drawing from 8/6/2022 is important to my development. Too often I have been distracted by complexity. I have distracted myself, consequently my viewers. Too much to be seen is too much to be comprehended. No longer will I ask intense visual activity from myself, or from my viewers. To be simple is to be true. True means one has a lucid grasp on one's message. Confusion occurs when one does not see truly. Ask Albert Einstein!
I delivered the painting, "Shadowland", to Silvermine Galleries for the 72nd A-ONE Exhibition. Finished this drawing yesterday; first work on this drawing was 8/16/2022.
Today my blog-space words are replaced by practice. I'm at a loss for words. My knowledge has obtained a non-verbal place. It resides there. Whatever I write pales aside the actual works of art.
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