My fear is about forms looking extremely derivative, as if they were meant to represent known objects. Sometimes that is my intention. Mostly, I wish to use form to animate space, to energize, to emotionalize my compositions. In the case of this drawing, I believe I have gone too far toward the recognizable. That was NOT my intention.
I call now the middle of my journey. This lesson in life, in Art, is I had to arrive at the middle before I could take a step toward full, self-realization. This drawing is important; it focuses on the most natural to me, i.e., inventing interesting, biomorphic forms. These biomorphic forms are beyond my natural self, they are reality, they have profound meaning.
Biomorphism, and humor, are alive and well within me/without me. Dig it!
I would like to declare the painting 2017 No.12 complete, but never say never. In fact, 2017 No.11 remains on my painting wall; yesterday I looked at this previously "completed" painting. Now I believe 2017 No.11 needs an alteration, i.e., removal of a little murkiness in thought and deed. I will probably give 2017 No.11 a bit of a re-do tomorrow. For now, I believe this one, the one in front of you, is complete. (A note about reproduction: That top border band of blue/black of the painting reproduced here today is darker in the actual painting. When photographing this painting I tried to adjust the lights that were used to illuminate the painting. In my adjustments I could now remove some of the surface sheen. Thus, the top border, which is darker in value, is reflectively grayed in the reproduction you see before you.) Please note the playfulness of the frame created by the dark border: it changes in value, as well as in width, consequently it also changes in its artifice of depth. This is new in my work.
Yesterday's drawing continues my query into biomorphic abstraction.
Usually I group my drawings into a gallery setting. Not today. Yesterday's drawings deserve to be seen alone, not next to one another. They are complex. I have often questioned the efficacy of complexity. At times I believed my work is too complex, thus disturbing the viewer. I do not believe that is the case with yesterday's drawings. Am I fooling myself? Am I getting away with murder? I actually believe I am defeating the coherent planer world, not murdering it. For the first time I feel my work is bolstered by the achievements of Paul Cézanne and Georges Braque. To show you what I mean, please look at the two reproductions of paintings by Cézanne and Braque (below my work). Cézanne and Braque has a propensity toward complexity, as seen in these reproductions of their work. Strangely, I do not feel "influenced" by either Cézanne or Braque. Their work supports mine without competition. They are who they are, and I am who I am.
Before I go, I should write something about the painting "2016 No.14", which is now in state 5. It took a good turn yesterday. It is in a battle with itself. A battle between structural complexity and emotional simplicity. It is being solved. It also is successfully dealing with my recent concern of Biomorphic distraction.
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