Growth comes with confusions. Most confusions, most problems, are rectified through work. I have this worry, "Am I able to keep all my lessons learned, those things I have rectified through work, available to my present consciousness?" Yesterday's drawing has element of silliness. It was pleasant for me to go that way. Today, looking at that drawing, I muse amusingly, "Silly me!" Lesson learned: This one is silliness too far. The hand-like object was made in jest, but it removes the viewer from this drawing's formalistic wonder. This drawing is glorious in compositional play. Its merits get lost because it took the extreme risk of referencing an obvious human trait. This distracts too much; it is not as successful as it might have been. Lesson learned!
Yesterday's work on the painting, Seriously?, is proof of lesson learned. Seriously? is now enlightened by acceptance of atmospheric color. There are many way of holding a painting together; this atmospheric color thing is one great technical method toward coherence.
My wondering today is about the coherency of image and surface. Yesterday's drawing is filled with forms. Mostly the forms sit near the front of this image's artifice of space. This bothers me. I want more. I want the space to be fully coherent. Forms against a white background do not resolve their position relative to the rest of the paper's plane. The paper, as automatic creator of an artificial space, must clearly identify its spatial concept, or the viewer feels deprived of the full reality of the image. If an image does not confirm the space it inhabits then the forms sit alone against blankness, nothingness. It is like making a jig-saw puzzle and leaving some pieces out. Satisfaction is incomplete if information is missing! Below, I show you the way Joan Miró handled this lack of background in one of his better works. Joan Miró sometimes placed the forms up front, while he disturbingly left the background blank. In Miró best works he forces the viewer to perceive the background as part of the composition, part of the overall image, part of the image's space. I am aware of this necessity, but like Miró, I sometimes get so enraptured by my forms that I forget full identification of their position within the spatial coherency of the total image.
To read my profile go to MEHRBACH.com.
At MEHRBACH.com you may view many of my paintings and drawings, past and present, and see details about my life and work.