This one is difficult to reproduce. It reads more easily in the studio than here; in the studio it is less contrast controversial. Posting here makes me think about the limits of representation. I have to figure this out because I don't want to be alone because I am difficult to see.
This revisit, to a drawing from 12/29/2021, is auspicious. This drawing has become full of flavor and wonder. I am living in a New World. This is a symphony; rich, complex, with many instruments available to sound a tune - counterpoint, contrast, form, and pattern are here. I am vigorous, sinewy, and have power.
This drawing is OK. I do not think it is what I wanted it to be; nor is it what I wish it to be. It misses my ambition. Should I be happy or sad? Methinks I should be neither happy or sad? I choose the middle ground: I accept this drawing is simply one more step on my road to self-expression. It has its own potency of expression, which I must not discount. The surface of the disk-like shape on the right is nicely realized. The contrast between multiple, small forms on the left, and large, simple forms on the right, is expressive. OK. Perhaps it is better than I first thought. I doubt. I am full of regret. I am not perfect. Nor is this road a straight line.
I am taking on the difficult because I can. That huge cloud-like, ocher dominated form, must be handled carefully. A form so compositionally dominate must make total, readable sense. Scale is important here. The round form, on which the dominate ocher form impinges, is critical to the structural integrity of the composition. Centering must be a game well played. I have presented myself with a robust challenge to intellect and emotion. I believe I can handle it. I go, head to head.
There is something special about this drawing. Excellent Drawing! Perhaps it is its robust use of the page, its vibrant use of the negative space, its dramatic contrasts in forms and in value. Whatever it is, it is definitely another step forward.
Looking for nirvana never fails to fail. This drawing is a start in the right direction. Seek and I shall find. This drawing finds merit in directness coupled with complexity. Here are large individual forms, within the large forms complexity is found. This is not the perfect accomplishment. It is a finding; not conclusive, but a verdict of merit that is preparation for my next step.
I received a gift of a calendar for 2021. It contains 365 art images, mostly paintings. Its cover shows Vincent Van Gogh's Still Life with Irises (one of Vincent's greatest masterpieces, completed in the last year of his life, 1890). You see one of my inspirations in this painting. Vincent used simple color, simple large forms, but then playfully created a complexity of lines, shapes, and value contrast within the irises. Van Gogh's Still Life with Irises is satisfying on many levels. I absolutely adore this painting. It is a treasured lesson in emotional truth telling.
Sometimes a drawing is just a drawing. This one is not about yesterday. Of course, it looks back and it looks forward, but it is really about now. Always, I wonder about contrast is scale, contrast in shape and form, contrast in value. This one researches all of that, and more. This play on contrast is an emotional play. It engages the viewer in discord and sedition. It asks for rebellion. It requests one to accept something completely different. It is a rabble on the left impinging on the simple and pure on the right. Who wins this fomentation of discontent? If it works well, you and I see and understand more deeply than before our encounter with this drawing.
Adolph Gottlieb has instructed me; simple contrast can create complex, emotional images. Yesterday's drawing was one experiment in that direction.
Adolph Gottlieb's works have always fascinated me. I know why. I am struggling fro self-expressive potency; my images never fully satisfy me. Gottlieb's works use a simple formula, over and over. Gottlieb uses a round, cleanly organized shape in contrast to an explosive, jumbled shape; in addition, his images exude positive-shape intensity against supportive, residual negative space. The positive shapes are rich, the negative space lends them fierce interest. This contrast, of shapes and space, sings a potent, emotional message. I do not make flat shapes. My complex, three-dimensional forms have greater opportunity to sing emotions than do Gottlieb's simple, flat shapes. I will stay my course. Gottlieb's simple formula educates; his formula lends charge to visual imagery; his exude husky, emotional responses. In this regard, I believe I can go further than Gottlieb. Adolf Gottlieb's limited formula has instructed me; simple contrast has great possibilities; obtaining more accurate self-expression is possible!
There is great contrast in these two drawings. The first (07/02/2020) is thick, slow-in-coming, heavy with pencil marks. The second (07/03/2020) is light, agile; made quickly, easily. I will not judge the value of either. I am in the midst of unfaltering self-discovery. I will not give up. The first drawing clearly exhibits my modus operandi. I am obsessed; I need to make sense of it all. In the midst of mindful action I am unable to stop myself. This relentlessness is a result of belief in my ability to detect, discern, make visually real that which is in front of me, surrounds, imbues with feelings and charm. This possibility is the incentive for my relentless journey.
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