Category: Emotive

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.

The Fat Lady will Never Sing

12/11/2021

Drawing 12·10·2021, pencil on paper, 20x16 inches

One goal of my journey is to fully comprehend negative space. I want to utilize negative space, make potently emotive. I want this for my drawings, I want this for my paintings. This journey, as long as I breathe, will never end. This particular Fat Lady will never sing for me. Yesterday's drawing is a good step toward understanding the emotive potential of negative space. Dwell on this drawing for a few moments. Do you feel the space between forms? Does it make you emotional? It does me!

A Little Everyday & Wanting to Cry

12/4/2021

Drawing 12·03·2021, pencil on paper, 20x16 inches

"Tonstant Weader Fwowed Up" (2021 No.10, state 8), oil on canvas, 56x62¼ inches, {"And it is that word 'hummy', my darlings, that marks the first place in 'The House at Pooh Corner' at which Tonstant Weader fwowed up." - Dorothy Parker (1893-1967), in "The New Yorker", 20 October 1928, reviewed by Dorothy Parker as "Constant Reader"}

I want to cry over the beauty of my paintings and drawings. I am not there yet. It is my goal. I want myself, and my viewers, to feel so very deeply the sincerity, and the nuanced beauty, of each of my art works, so much so that they are filled with emotion, emotion that spills so hard that they break down and cry. I am taking baby steps in that direction. I am not there yet.

Toward Strange or Real?

11/10/2021

"Tonstant Weader Fwowed Up" (2021 No.10, state 2), oil on canvas, 46⅝x60⅝ inches, {"And it is that word 'hummy', my darlings, that marks the first place in 'The House at Pooh Corner' at which Tonstant Weader fwowed up." -Dorothy Parker (1893-1967), in "The New Yorker", 20 October 1928, reviewed by Dorothy Parker as "Constant Reader"}

Truth is not obvious. I am constantly in search. I am stripping away falsehoods, recognizing dead ends, and acknowledging personal deceptions. I am redirecting myself. I am moving away from a pursuit of mistaken, misguided lines of thought and action. I am moving toward real, actual, authentic, emotive compositions, forms, and images. The title of my newest painting (2021 No.10) may be humorous, but its intent is serious. I am in the process of removing falderal from my art.

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