Category: Emotive

Revelation: "I'm All About 'Interactions'"

12/24/2022

"Drawing 12·14‚2022 No.2 (state 2), pencil on paper, 16x20 inches

Drawing 12·21·2022, pencil on paper, 16x20 inches

My very first impulse in visual art-making was to create interactive forms and figures. At last I am returning to my nativity. These drawings are initiation of my acceptance that interaction is my primary instigation in making Art. This reflects truth in my living. Interactions give me reason to live. I accept this. I will make art called "Interactions."

Hitting Closer to Home

11/26/2022

"Reclamation" (2022 No.11, state 02), oil on canvas. 51x56⅛ inches

I am getting better. I better recognize that which says me when I see it. This is mindfulness in action. It is my mind that interests me. I bare what says me and I make better.

Continuity of Process

10/30/2022

"Ghost Town" (2022 No.9, state 07), oil on canvas, 55¼x58⅞ inches

Drawing 10·28·2022, pencil on paper, 16x20 inches

Drawing 10·29·2022, pencil on paper, 16x20 inches

Of these two drawings I prefer the one I began on 10/28 (completed yesterday). The other drawing is OK; it looks like I lost my processing edge. When I get tired I tend to look for a solution by use of form, rather than through composition. Compositional solutions are superior when the emotional tug-o-war rests upon the play of negative versus positive space.

"Ghost Town" is in state #7. It is getting better.

Making the Move Real

6/20/2022

"Crevice" (2022 No.7, state 2), oil on canvas, 40½x57½ inches

This move is a real one. Symbolism is upon me. Is this, definable, decidable, decipherable symbolism? To my inner self, yes! This makes sense to me. This is not verbal sense. This is internal sense. Things are right in this, my newest painting, "Crevice."

Going With It

6/19/2022

"Crevice" (2022 No.7, state 01), oil on canvas, 40½x57½ inches

Thus it begins. I have accepted an idea true to me. This is about symbolic representation as important to energizing my deepest self. I accept it, my images may mystify some viewers, but no matter how perplexing, puzzling, convoluted, mystifying, and unaccountable it may look to some, this is core me. I must do it. The new painting, "Crevice", is such consequential image.

The Power of the Dog

3/15/2022

Drawing 03·11·2022, pencil on paper, 16x20 inches

If you wish to criticize me, please do! Just call me dogged, relentless, a pain in the ass to those who wish simple and easy. Here I am, still at it, imperfect. This drawing is exceptional. Imperfectly a step toward wrapping together emotional balance and imbalance.

Drama, Power & Punch

2/19/2022

Drawing 02·19·2022, pen on paper, 20x16 inches

The title of today's post is my response to this drawing: I find it scary, ominous, and forceful. More than ever before I am in touch with my personal call/response network. My response to cross-currents presented to me is immediate. These personal call-outs appear before me, within me, as flashes of information; immediately I am able to translate my ongoing emotional responses into visual content. This, I imagine, is not unlike a jazz musician in the middle of improvisation on a musical theme.

Strong by Default

1/16/2022

Drawing 01·15·2022, pencil on paper, 20x16 inches

Complex versus simple; expression is in the eye of the beholder. I must remember this: The artist is not required to spell out every nuance of every feeling. The artist is required to be simple, pure, accepting of the viewer's profound understanding of life, living, and feeling. In other words, the artist is not required to spell out every nuance of every feeling. No more descriptive quality is necessary If the artist feels, then produces an image that is that feeling. The viewer, through his or her feeling, will complete that which must be felt.

Purity v. Emotive Complexity

12/17/2021

Drawing 12·16·2021 No.2, pencil on paper, 20x16 inches

Drawing 12·16·2021 No.1, pencil on paper, 16x20 inches

I want my Art to simultaneously contain purity and emotive complexity. Are they mutually exclusive? I believe Mark Rothko, and Ellsworth Kelly, have proved otherwise. And... they are not the only ones.

Negative space is paramount as emotive structure. Positive forms share responsibility; forms must be profoundly, attentively complex, while positioned sparsely within negative space.

Yesterday's drawings continue my research into this dilemma, purity versus emotive complexity.

Desperately Seeking Universality

12/14/2021

Drawing 12·11·2021 No.1, pencil on paper, 16x20 inches

Drawing 12·11·2021 No.2, pencil on paper, 16x20 inches

These drawings are research efforts. They desperately seek universal emotive impact. I seek emotional visual statements, statements not confused by dominant forms. Substantive negative space is required to give positive forms potency by juxtaposition.

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