Things are getting better. Getting to truth is a very slow process. In, out, up, down, scribble, scrabble, knock down, open up, find, reject; then do it all again.
There is nothing more important to successful problem solving than a goal with a limited amount of time to achieve it. These two images are creative discovery leading to successful solutions. The drawing is complete. The painting is on a path. Both images illustrate my need to compress time, us it wisely and well. I fear my time is limited. I am not ill. I do accept my time to create is bound by my finite existence. I accept my mortality. Mortality is the restriction that defines my personal and Artistic limits.
I am devoted to refusing to comply with preconceptions. My goal is to find camaraderie with those who see my Art. My Art, In all aspects of non-representational Art, is extremely competent, yet it continues to cause confusion. In order to dispel confusion I must seek clarity though continual reinvention. Yesterday's drawing is extremely competent, but does it translate my knowledge and feelings to my viewers? I am unsure. I need find an answer to my question, one that brings me security.
New drawing with more insight; revisions to two paintings, now declared "complete" — that's all he wrote.
Getting there without knowing how, nor do I know the whereabouts of "there." The majesty is in the mystery. Such if the making of Art.
Verisimilitude is as much about me as it is about you. My job is to make appearances work for both of us. Your job is to see and feel. My job is to make Artwork for both of us. My products must mimic my vision, make it clear, precise, easy to read. I am talking about personal vision being translated into universal visual language. The two works I show today are steps in the right direction.
Take a look the the Art I made yesterday, new drawing, state 6 of the painting, "Ghost Town. Time goes on, I show up, my work becomes more me.
And off we go... Why have I not been reluctant to boldly go this route? I have a need to make robust movement through marks and forms! I have gained enough confidence to challenge my reluctance! Here I am!
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.
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