"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.
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. The force of my will made this one. It is apropos of my need to grab your attention, grab my attention. I center you, I center me, by using strong vertical forms. Somehow, when I was finished with this drawing, I was reminded of Picasso's "Crucifixion" from 1930. I believe it to be one of Picasso's most remarkable works, different as it is in color, space, and forms from anything else Picasso. Yes, in this crucifixion there is relationships to everything Picasso had done, and would do, but Picasso's approach here is quite different. The viewer is centered by the light-valued blue of the Christ figure and his distraught mother. After this centering, the viewer can wander, be continuously surprised by the complete animation, the literal references, within the composition, one after the next. My drawing is simpler, yet equally haunting. This bring me to the question of background. There is blank paper in my drawing. Does that work? I usually like to touch every surface. I usually feel the need to identify every part of my paper's surface as part of my space, my time, and my composition. That did not happen in this drawing's background. Does it work? There is a bold, forceful grab here: the viewer is captured by strong, vertical forms, I do believe the white paper ground serves its contrasting purpose. I see the white as definitive space; it is the flat plane in front of which the rest of the composition resides. Notice how Picasso dealt with his background and the negative space; four flat colored areas: blue, yellow, orange, red. Is the viewer bothered by these unidentifiable spaces? No! Instead the multiple compositionally positive forms grab and install the viewer within the composition. The forms are strong enough to support the vague spaces and surfaces Picasso's flat colors depict. "The Opposite of Indifference" (2021 No.4, state 13), oil on canvas, 54x51 inches, {"The opposite of love is not hate, it's indifference. The opposite of art is not ugliness, it's indifference. The opposite of faith is not heresy, it's indifference. And the opposite of life is not death, it's indifference. Because of indifference one dies before one actually dies. To be in the window and watch people being sent to concentration camps or being attacked in the street and do nothing, that's being dead. His or her neighbor are of no consequence. Their hidden or visible anguish is of no interest. Indifference reduces the Other to an Abstraction." - Elie Wiesel, "US News & World Report" (27 October 1986)} The background of the painting, "The Opposite of Indifference", reminds me of an old master painting, such as Rembrandt's "Self-Portrait" of 1665 (below). My browns and yellows come from Cadmium Yellow and Manganese Violet. Did Rembrandt do the same? I do know. My painting called for a touch of pure red, just as Rembrandt's did! My War, my seeking Peace, is strongly upon me. I am at War because of my desire to force myself (also, my viewers), into spotlight, concentration, and focus. This is me seeking Peace; I have been calling this centering. It is much more sophisticated than than simple centering. In both of today's works I compositionally grapple with this idea of forcing myself (and my viewers) to center into my work of art. Rembrandt did this well. Rembrandt's invention of semi-circles in his "Self-Portrait" moves the viewer off center into the spotlight of his face. Abstraction was Rembrandt's great gift; he always used it to control the composition, forcing the viewer into absorption, and involvement. Rembrandt captured us, his viewers, with abstract brushstrokes, light, color, shapes, and forms. I love Rembrandt's "Self-Portrait"of 1665 because you can see his complete mastery; Rembrandt grabs, captures his viewer through abstracted qualities available in the arsenal of a painter's tools. Yes, Rembrandt experienced War too; he too sought Peace through his art. For the artist, this War seeking Peace is the endless. It is the game we play. "The Opposite of Indifference" (2021 No.4, state 11), oil on canvas, 54x51 inches, {"The opposite of love is not hate, it's indifference. The opposite of art is not ugliness, it's indifference. The opposite of faith is not heresy, it's indifference. And the opposite of life is not death, it's indifference. Because of indifference one dies before one actually dies. To be in the window and watch people being sent to concentration camps or being attacked in the street and do nothing, that's being dead. His or her neighbor are of no consequence. Their hidden or visible anguish is of no interest. Indifference reduces the Other to an Abstraction." - Elie Wiesel, "US News & World Report" (27 October 1986)} I am, as always, fascinated by reality. I am fascinated by the reality that a picture requires an obvious sign-like center to be heeded. Compositions with a core center insist upon being viewed. Compositions with an obvious center of attention insist upon being taken seriously. Seriously! I don't have to tell you. You have been drawn into the images I show you today, including a painting by Jean-Michel Basquiat. My painting, "The Opposite of Indifference", does need more work to fully smack your eyes into a center of attention. That will happen today. "The Opposite of Indifference" (2021 No.4, state 10), oil on canvas, 54x51 inches, {"The opposite of love is not hate, it's indifference. The opposite of art is not ugliness, it's indifference. The opposite of faith is not heresy, it's indifference. And the opposite of life is not death, it's indifference. Because of indifference one dies before one actually dies. To be in the window and watch people being sent to concentration camps or being attacked in the street and do nothing, that's being dead. His or her neighbor are of no consequence. Their hidden or visible anguish is of no interest. Indifference reduces the Other to an Abstraction." - Elie Wiesel, "US News & World Report" (27 October 1986)} Here I exhibit two works, two steps as I acknowledge centering a composition is necessary to demand viewer attention. The drawing uses negative space more fully than positive space. Is it fully successful? Does it capture your attention? You be the judge. I call it an ardent step in the right direction!
"Gonna Speak to the Crowd" (2021 No.5, state 3), 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)} The same thing that saves people's backs from suffering pain is necessary in good paintings. If design is strongly centered the possible pain of confusion gets swept away by clarity of engagement. This is happening in "Gonna Speak to the Crowd", which is aptly titled. I am working hard to make this one speak directly to my crowd of viewers. No more futzing around for robust form and space, which can be confusing because ardent searches are ripe with confusion. I am going for center, for engagement through centrist clarity.
This is not intended to be a finished drawing; just a step toward developing my centeredness.
Perhaps the main job of art-making, also viewing art, is to center us. This can be done with calm introspection, Piet Mondrian comes to mind. Or, it can be done with rambunctious bravado, and flair, such as the work and life of Vincent Van Gogh. I am in the latter camp. I enjoy enthusiasm, and energetic interaction, in the process that is my art-making. I want the. viewers of my art to feel the same. However, centering is becoming more important, more imperative. For years I misunderstood my own needs. My intent got distorted, it became removed from the reality of working toward a controlled center. Centering is required for the human spirt to thrive. Centering is as exhibition of mindfulness and human dignity. Yesterday's drawing recognizes this. All my work going forward will recognize the human quest for center.
"The Opposite of Indifference" (2021 No.4, state 04), oil on canvas, 49x53½ inches, {"The opposite of love is not hate, it's indifference. The opposite of art is not ugliness, it's indifference. The opposite of faith is not heresy, it's indifference. And the opposite of life is not death, it's indifference. Because of indifference one dies before one actually dies. To be in the window and watch people being sent to concentration camps or being attacked in the street and do nothing, that's being dead. His or her neighbor are of no consequence. Their hidden or visible anguish is of no interest. Indifference reduces the Other to an Abstraction." - Elie Wiesel, "US News & World Report" (27 October 1986)} If I have learned any one thing from Ellsworth Kelly and Mark Rothko, it is this: centering is everything. It is the origin of truth telling. The viewer is confused without an obvious center. Strength of purpose is exuded when the artist dares to speak from his center. |
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May 2024
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