It is happening... sticking in there, doing 10,000+++ hours pays off. I am finding the ground on which I live. This drawing is a good one.
Symbolic, noteworthy, looks like something I have seen before; this is what I am doing. I am going there, doing it, referring to memory past and present, stuff that visually reminds me. These two drawings are examples of my quest for known and knowing.
This move is a real one. Symbolism is upon me. Is this, definable, decidable, decipherable symbolism? To my inner self, yes! This makes sense to me. This is not verbal sense. This is internal sense. Things are right in this, my newest painting, "Crevice."
Thus it begins. I have accepted an idea true to me. This is about symbolic representation as important to energizing my deepest self. I accept it, my images may mystify some viewers, but no matter how perplexing, puzzling, convoluted, mystifying, and unaccountable it may look to some, this is core me. I must do it. The new painting, "Crevice", is such consequential image.
Symbolism and I go way back, back to my first impulses. I remember being in college, where I was studying Chemistry, but flirting with making Art; I made a painting with people marching up a mountain, marching to the top where a national flag was blowing in the wind. The idea of marching uphill, toward a national symbol, had much to do with the ideas put forward in John Lennon's song, Imagine: "Imagine there's no countries, It isn't hard to do, Nothing to kill or die for, And no religion, too." A couple years later I was an Apprenticed Artist in New York City, four years later I moved to study with Philip Guston at Boston University.
I believe I am returning to one of my primary impulses, symbolism. These two drawings are a step in that direction, they are symbolic moments.
The trend appearing in my work is me grabbing onto meaningful forms residing in meaningful space. I go into into that invented place in order to find meaning and personal truth. This makes sense to my deeper self. It is me recognizing my personal, idiosyncratic wholeness. Yesterday's drawing is a step toward acceptance. In this drawing I see truth in forms and truth in their spatial residence; these entities, and their space and place, reflect personal recognition of reality.
The last few days had me distracted by upcoming exhibition of the painting, "Castle" (2022 No.3), which goes on exhibition June 25th at Silvermine Art Galleries in New Canaan, CT (see PostCard for exhibition, below). Consequently, the drawing shown today is interesting, judgement withheld.
I am a wondering, wandering man. Now what? My recent painting, ”Castle", will soon be in exhibition. Exhibition marks success of artistic communication. Why "Castle"? I make a lot of art, I make a lot of paintings and drawings. People choose to exhibit art they enjoy. Enjoyment denotes relevance. I continue to process during, and after, exhibitions. Constantly I work to come to peace with my natural instincts. Informative is the art people choose to exhibit. Choice by others is an expression of value in an artwork's communication. Yesterday's drawing (shown here) is my reaction to the positive quality expressed by the choice of “Castle” as exhibition worthy. In this drawing I am reacting by wondering. All my art is both question and answer.
The painting "Castle" is ready for exhibition. I stretched it on a wood frame, some surfaces and edges required repainting. Here it is!
My latest drawing took two studio visits to resolve. This multiple day revisiting is becoming common; it does benefit my drawings. As my work becomes more sophisticated, more nuanced, putting away, returning for a new look, is advantageous. This multiple-day-art-making may become my norm. Multiple states has always worked for my paintings; I am accepting it is also good for my drawings.
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