 Drawing 09·26·2021, pencil on paper, 20x16 inches It is getting scary. The drawing I present today is undeniably deep and profound. That's the scary part. This drawing's in-your-face centerness insists you look, not look away. When is scope and depth undeniable? Take a look at Alberto Giacometti's "Diego" (below). That is one answer in addition to the one I give you in my drawing. Look and hang; you will discover yourself.  Alberto Giacometti, "Diego", oil on canvas, 1953
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 Drawing 09·25·2021, pencil on paper, 16x20 inches I have thinking about the all-over design of the things. My first thought in making the last couple drawings, and the last painting, was about the all-overness of the design. I began yesterday's drawing (the one shown today), with all-over touches of the pencil. This forced me to deal with every aspect of the blank, white paper in front of me; I think successfully. This drawing is dramatic, referential, abstract, well composed, and insists upon the viewer's center stare while begging for the viewer's eye to wander in lust. The black areas dart around the paper, and the lighter value areas are systematically, strategically packed; this makes for easy visual comprehension of the total design while dwelling on the all-over.
 Drawing 09·04·2021, pencil on paper, 20x16 inches My road is narrowing. I am walking into a place where centering is true, and anamorphosis is possible. This is a world closer to my kind, to my ability to comprehend concisely, in depth and nuance. Am I not becoming more true to myself? My recent drawings feel true, so they may be true. I am a second guesser. Never do I take an idea to be correct without a considerable body of investigatory repetition, truth tested by research.
Today's drawing feels right and good.  "Honorable Terms" (2021 No.7, state 7), oil on canvas, 52x57⅞ inches, {"The roots of reason are imbedded in feelings — feelings that have formed and accumulated and developed over a lifetime of personality-shaping. These feelings are not a source of weakness but a resource of strength. They are not there for occasional using but are inescapable. To know what we think, we must know how we feel. It is feeling that shapes belief and forms opinion. It is feeling that directs the strategy of argument. It is our feelings, then, with which we must come to honorable terms." - James E. Miller, Jr., "Word, Self, Reality: The Rhetoric of Imagination" (1972)} I didn't know! Who knew? Not me! I am in search for personal monuments. One of my greatest influencers is Henry Moore. I adore his work. I have always been intrigued by Moore great, monolithic, monumental sculptures. Henri Matisse said an artist should look at one's earliest works as he searches for self; in doing so the artist discovers his natural affinities and purpose. I believe the most important education for the artist is reflection upon one's earliest impactful, intensely emotional responses to visual discoveries. Yesterday's work on the painting, "Honorable Terms", altered this painting from a mess of form and light to a monument to form and light. "Honorable Terms" now reflects personal centering. Yesterday's work was mindful discovery linked to personal, emotional responsiveness. "Honorable Terms" is now a monumental, intellectual success.  Henry Moore, "Atom Piece", Bronze Sculpture, 1964  "Honorable Terms" (2021 No.7, state 5), oil on canvas, 52x57⅞ inches, {"The roots of reason are imbedded in feelings — feelings that have formed and accumulated and developed over a lifetime of personality-shaping. These feelings are not a source of weakness but a resource of strength. They are not there for occasional using but are inescapable. To know what we think, we must know how we feel. It is feeling that shapes belief and forms opinion. It is feeling that directs the strategy of argument. It is our feelings, then, with which we must come to honorable terms." - James E. Miller, Jr., "Word, Self, Reality: The Rhetoric of Imagination" (1972)} If you have been paying attention, day by day, I am taking a walk with the painting, "Honorable Terms". It is a walk toward centering. I am mindfully working to find center in every way possible: intellectually, spiritually, emotional, compositionally. This is honorable work, this is great work, thus this painting's title is apropos.
In front of me now is a paperweight with this quote from Oliver Wendall Holmes: "Every calling is great when greatly pursued."  "Honorable Terms" (2021 No.7, state 4), oil on canvas, 52x57⅞ inches, {"The roots of reason are imbedded in feelings — feelings that have formed and accumulated and developed over a lifetime of personality-shaping. These feelings are not a source of weakness but a resource of strength. They are not there for occasional using but are inescapable. To know what we think, we must know how we feel. It is feeling that shapes belief and forms opinion. It is feeling that directs the strategy of argument. It is our feelings, then, with which we must come to honorable terms." - James E. Miller, Jr., "Word, Self, Reality: The Rhetoric of Imagination" (1972)} I am in simple mode, dedicated to centered mindfulness. I am potently aware of my task. Awareness has place me on a path of enhancement, step by step. Actually, this feels more like journey by continuum, not click by click stepping. This relatively simple painting, "Honorable Terms", reflects the simplicity of the idea that has become my mindful journey. This painting is aptly titled for this moment in my present tense mindset.
 Drawing 07·22·2021, pencil on paper, 16x20 inches  "Honorable Terms" (2021 No.7, state 3), oil on canvas, 52x56¾ inches, {"The roots of reason are imbedded in feelings — feelings that have formed and accumulated and developed over a lifetime of personality-shaping. These feelings are not a source of weakness but a resource of strength. They are not there for occasional using but are inescapable. To know what we think, we must know how we feel. It is feeling that shapes belief and forms opinion. It is feeling that directs the strategy of argument. It is our feelings, then, with which we must come to honorable terms." - James E. Miller, Jr., "Word, Self, Reality: The Rhetoric of Imagination" (1972)} Can it be done? Can an image be made that is complex yet centered well enough to absorb the viewer? If centering is robust, the viewer remains to dwell upon the nuances within the whole. That was my challenge in making yesterday's drawing. Does that drawing work well? Does it accomplish my goal of viewer involvement? My painting yesterday was far simpler in its goal.
 "Gonna Speak to the Crowd" (2021 No.5, state 10), oil on canvas, 62¾x57⅜ inches, {"I'm gonna spare the defeated — I'm gonna speak to the crowd. I'm gonna spare the defeated, boys, I'm going to speak to the crowd. I am goin' to teach peace to the conquered. I'm gonna tame the proud." - Bob Dylan, "Lonesome Day Blues" (2001)} I am not happy with the way this is going. Is "Gonna Speak to the Crowd" getting away from me? I am concerned about centering. Is this painting reluctant to find center? I am working to find center, but trouble continues. I am concerned. Engaging by simplicity has been difficult. Is it possible? Can "Gonna Speak to the Crowd" become centered in both personal and compositional realms? I have not given up. Somehow this painting reminds me of a complex painting by Richard Diebenkorn.  Richard Diebenkorn, "Urbana", oil on canvas, 156.2x121.3 cm, 1953  "Gonna Speak to the Crowd" (2021 No.5, state 7), oil on canvas, 62¾x57⅜ inches, {"I'm gonna spare the defeated — I'm gonna speak to the crowd. I'm gonna spare the defeated, boys, I'm going to speak to the crowd. I am goin' to teach peace to the conquered. I'm gonna tame the proud." - Bob Dylan, "Lonesome Day Blues" (2001)} Very early this morning I was in the studio. This painting, "Gonna Speak to the Crowd", had to change. What is that weird, playful form on its lower left?" It is a distraction, albeit interesting to look at. This painting's core composition is solid. Why distract from its core mission? As of this writing much of the periphery of this painting has been destroyed, replaced with simplicity. This is my effort to find core value. That is singular "value." Over the last few weeks my mission has been clear. It is personal impetus seeking singular center. "Finding center" is both figurative and literal. I am on a mission to find myself through my work. I want to make it visual. I understand vision better than storms in my brain.
 Drawing 06·26·2021, pencil oil paper, 20x16 inches The lines at the bottom of today's drawing used a solution from my most important teacher, Philip Guston. Here I exhibit Guston's continual influence on me. I accept Guston's discovery of impactful compositional solutions. It is not just an idea espoused by Guston; Guston is in the good company of Pablo Picasso, Mark Rothko, and me. It is the in-your-face solution: this is a great means to capture and involve the viewer.  Philip Guston, "Room", oil on canvas, 1975(?) |
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