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Educated Confusion

10/2/2017

 
Picture
"2017 No.13" (state 4), oil on canvas, 51.5x59.5 inches
Picture
Drawing 10·01·2017, pencil on paper, 16x20 inches
Doing this day after day has brought me trust in my instincts and in my intuition. I am going where I have never gone before. If I were not lost I would not be an explorer. 

Not so Much!

4/5/2017

 
Yesterday's drawings are me testing, searching to find clarity in direction. Not so much! These are interesting in their contrast, and in questions they ask. New stuff today!

Examining the almost 2D.

3/9/2016

 
Picture
Drawing-03·08·2016, pencil on paper, 20X16 inches
The direction of my research and development is obvious. I am further examining drawing and painting as planar-insistent. This can also be said like this: I am exploring the actuality of the two-dimensional reality of a work on paper or canvas versus the artifice of three-dimensions that may be explored through the act of drawing.

​In my last post I showed works by Claude Monet and Paul Cezanne. I showed three of Monet's works, exhibiting his move toward facade-like images late in his career. I remarked that Cezanne, early-on in his career, perceived the canvas as a two-dimensional object. I did this by reproducing a painting created by Cezanne in 1877. Today I show one of Cezanne's last works, made in the year of his death, 1906. Wow! It scintillates with surface marks, thus leaving no doubt one is viewing a representation of a 3D-landscape on a 2D-canvas.
Picture
"2016 No.3" (Painting-03·05·2016, state 2), acrylic marker on canvas, 52X48 inches)

Picture
Paul Cezanne, "Mont Sainte Victoire Seen from les Lauves", oil on canvas, 1906

The Spirit of St. Louis

2/24/2016

 
Picture
Drawing-02·23·2016, pencil on paper, 16X20 inches
Yesterday's art-making was all about taking off, flying, not knowing if I am going to actually get across the big divide, but happy that I am in the air and flying. The painting "2016 No. 2" took an unexpected turn. It was preceded by a drawing, which explores an idea carried into the painting. The foreground figure is in shadow, creating a forefront that allows the viewer to spatially plunge into the rest of the picture. This allows me to push further the artifice of three-dimensional space.
Picture
"2016 No. 2" (painting-02·16·2016, state 3), oil & acrylic marker on canvas, 55X62 inches

Blast!

2/12/2016

 
Picture
"2016 No. 1" [Painting-01·08·2016 (state 10)], oil on canvas, 56X60 inches
Whoever thunk it? I am a continual skeptic, full of doubt. I doubted I would ever get here, near a conclusion to Painting-01·08·2016, even though I have been through this process hundreds of times. The basic rule: Hang in there and a conclusion will occur! I write this with caution, because there may be an additional touch or two coming, but nothing so serious as to alter the mood or composition of this painting. It is what it is. 

Yesterday's drawings 
continued my query into both approach and subject matter. There is no finality in these drawings. If anything, drawings like these make me realize that I will never find finality.

I continue to fail at perfect reproduction — this too will forever be a problem! In today's reproductions you can see that both drawings were unevenly lit: A shadowing effect occurs in the upper left.

FYI: The drawing on the left was on slightly yellow paper, with a water mark visible in the lower left.

A question of balance.

12/3/2015

 
Picture
Drawing-12·02·2015, pencil on paper, 16X20 inches
Usually I show the painting I did yesterday first, then the drawing. Not today! I find the newest state of "Crazy Love" problematical. It is in need of repair. Thus the drawing first, which is a good one.

"Crazy Love" is going through a grand transition, as am I. I am coming to terms with the figurative impetus of my soul, mixed as it is with a visually abstract, non-concrete universe. Yesterday's drawing began as a study for "Crazy Love", but it quickly took its own direction. Two remnants in yesterday's drawing refer to "Crazy Love". They are the heart and the distorted, ex-body head. The current ex-body head will be substantially repainted. I am also imagining (during this writing) the appearance of a second head in the bottom right quadrant.
Picture
"Crazy Love" (state 10 of Painting-09·09·2015), oil on canvas, 60X52 inches

The Right Peat Moss?

11/30/2015

 
Drawings from 11/29/2015, pencil on paper, 16X20 inches
I have surprised myself with new images, and also the joy of laying down graphite on a textured surface. The paper is the same paper used in yesterday's drawing. The images are vastly different. From where come these images? One possible connection: Yesterday a photo was sent to me by a friend (in an email I opened before going to the studio). The photo shows a strange room in Silicon Valley with people walking amongst floating spheres. The spheres are white with black circles on them (the ceiling, floor, and wall are red with black circles). Unlike my drawings, the spheres do not inhabit the people (people are walking among the spheres). Influence? Perhaps. Most important is my product. These drawings are different than anything I have produced in recent memory. They started differently, were processed differently, and ended differently. I am exhilarated by their inventiveness.

A note about today's reproductions: Both drawing are on the same textured paper. The paper's surface color on the first drawing is closer to its actual color. I did not white balance my camera prior to photographing the second drawing, nor did I change the lighting. 

What is on second.

11/12/2015

 
Picture
"Wowie" (state 9 of Painting-10·11·2015), oil on canvas, 52X60 inches
Invention, surprise, resurrection, Stanley Kubrick, Leo Tolstoy, Abbott and Costello. They all have given meaning to my life. Rumination and self-analysis has been a result. How do I get all of them in my art? There is no easy means or method, so I continue to plug away. Who's on first? The title of yesterday's blog post said, "This is What!", but Abbott said, "What is on second." The play of ins, outs, and betweens of my synapses must be leading me to comprehensive knowing, or not. The drawings shown today are me searching. This is not unusual, but I note it just the same.

FYI: The complete dialogue of Abbott and Costello's "Who's on First?" is transcribed at the end this post. 
Drawings from 11/11/2015, both pencil on paper, 16X20 inches
Who's on First?  by Abbott and Costello

Abbott: Well Costello, I'm going to New York with you. You know Buck Harris, the Yankee's manager, gave me a job as coach for as long as you're on the team.
Costello: Look Abbott, if you're the coach, you must know all the players.
Abbott: I certainly do.
Costello: Well you know I've never met the guys. So you'll have to tell me their names, and then I'll know who's playing on the team.
Abbott: Oh, I'll tell you their names, but you know it seems to me they give these ball players now-a-days very peculiar names.
Costello: You mean funny names?
Abbott: Strange names, pet names…like Dizzy Dean...
Costello: His brother Daffy.
Abbott: Daffy Dean...
Costello: And their French cousin.
Abbott: French?
Costello: Goofè.
Abbott: Goofè Dean. Well, let's see, we have on the bags, Who's on first, What's on second, I Don't Know is on third...
Costello: That's what I want to find out.
Abbott: I say Who's on first, What's on second, I Don't Know's on third.
Costello: Are you the manager?
Abbott: Yes.
Costello: You gonna be the coach too?
Abbott: Yes.
Costello: And you don't know the fellows' names?
Abbott: Well I should.
Costello: Well then who's on first?
Abbott: Yes.
Costello: I mean the fellow's name.
Abbott: Who.
Costello: The guy on first.
Abbott: Who.
Costello: The first baseman.
Abbott: Who.
Costello: The guy playing...
Abbott: Who is on first!
Costello: I'm asking YOU who's on first.
Abbott: That's the man's name.
Costello: That's who's name?
Abbott: Yes.
Costello: Well go ahead and tell me.
Abbott: That's it.
Costello: That's who?
Abbott: Yes.
PAUSE
Costello: Look, you gotta first baseman?
Abbott: Certainly.
Costello: Who's playing first?
Abbott: That's right.
Costello: When you pay off the first baseman every month, who gets the money?
Abbott: Every dollar of it.
Costello: All I'm trying to find out is the fellow's name on first base.
Abbott: Who.
Costello: The guy that gets...
Abbott: That's it.
Costello: Who gets the money...
Abbott: He does, every dollar. Sometimes his wife comes down and collects it.
Costello: Who's wife?
Abbott: Yes.
PAUSE
Abbott: What's wrong with that?
Costello: Look, all I wanna know is when you sign up the first baseman, how does he sign his name?
Abbott: Who.
Costello: The guy.
Abbott: Who.
Costello: How does he sign...
Abbott: That's how he signs it.
Costello: Who?
Abbott: Yes.
PAUSE
Costello: All I'm trying to find out is what's the guy's name on first base.
Abbott: No. What is on second base.
Costello: I'm not asking you who's on second.
Abbott: Who's on first.
Costello: One base at a time!
Abbott: Well, don't change the players around.
Costello: I'm not changing nobody!
Abbott: Take it easy, buddy.
Costello: I'm only asking you, who's the guy on first base?
Abbott: That's right.
Costello: Ok.
Abbott: All right.
PAUSE
Costello: What's the guy's name on first base?
Abbott: No. What is on second.
Costello: I'm not asking you who's on second.
Abbott: Who's on first.
Costello: I don't know.
Abbott: He's on third, we're not talking about him.
Costello: Now how did I get on third base?
Abbott: Why you mentioned his name.
Costello: If I mentioned the third baseman's name, who did I say is playing third?
Abbott: No. Who's playing first.
Costello: What's on first?
Abbott: What's on second.
Costello: I don't know.
Abbott: He's on third.
Costello: There I go, back on third again!
PAUSE
Costello: Would you just stay on third base and don't go off it.
Abbott: All right, what do you want to know?
Costello: Now who's playing third base?
Abbott: Why do you insist on putting Who on third base?
Costello: What am I putting on third.
Abbott: No. What is on second.
Costello: You don't want who on second?
Abbott: Who is on first.
Costello: I don't know.
Abbott & Costello Together:Third base!
PAUSE
Costello: Look, you gotta outfield?
Abbott: Sure.
Costello: The left fielder's name?
Abbott: Why.
Costello: I just thought I'd ask you.
Abbott: Well, I just thought I'd tell ya.
Costello: Then tell me who's playing left field.
Abbott: Who's playing first.
Costello: I'm not... stay out of the infield! I want to know what's the guy's name in left field?
Abbott: No, What is on second.
Costello: I'm not asking you who's on second.
Abbott: Who's on first!
Costello: I don't know.
Abbott & Costello Together: Third base!
PAUSE
Costello: The left fielder's name?
Abbott: Why.
Costello: Because!
Abbott: Oh, he's centerfield.
PAUSE
Costello: Look, You gotta pitcher on this team?
Abbott: Sure.
Costello: The pitcher's name?
Abbott: Tomorrow.
Costello: You don't want to tell me today?
Abbott: I'm telling you now.
Costello: Then go ahead.
Abbott: Tomorrow!
Costello: What time?
Abbott: What time what?
Costello: What time tomorrow are you gonna tell me who's pitching?
Abbott: Now listen. Who is not pitching.
Costello: I'll break your arm, you say who's on first! I want to know what's the pitcher's name?
Abbott: What's on second.
Costello: I don't know.
Abbott & Costello Together: Third base!
PAUSE
Costello: Gotta a catcher?
Abbott: Certainly.
Costello: The catcher's name?
Abbott: Today.
Costello: Today, and tomorrow's pitching.
Abbott: Now you've got it.
Costello: All we got is a couple of days on the team.
PAUSE
Costello: You know I'm a catcher too.
Abbott: So they tell me.
Costello: I get behind the plate to do some fancy catching, Tomorrow's pitching on my team and a heavy hitter gets up. Now the heavy hitter bunts the ball. When he bunts the ball, me, being a good catcher, I'm gonna throw the guy out at first base. So I pick up the ball and throw it to who?
Abbott: Now that's the first thing you've said right.
Costello: I don't even know what I'm talking about!
PAUSE
Abbott: That's all you have to do.
Costello: Is to throw the ball to first base.
Abbott: Yes!
Costello: Now who's got it?
Abbott: Naturally.
PAUSE
Costello: Look, if I throw the ball to first base, somebody's gotta get it. Now who has it?
Abbott: Naturally.
Costello: Who?
Abbott: Naturally.
Costello: Naturally?
Abbott: Naturally.
Costello: So I pick up the ball and I throw it to Naturally.
Abbott: No you don't, you throw the ball to Who.
Costello: Naturally.
Abbott: That's different.
Costello: That's what I said.
Abbott: You're not saying it...
Costello: I throw the ball to Naturally.
Abbott: You throw it to Who.
Costello: Naturally.
Abbott: That's it.
Costello: That's what I said!
Abbott: You ask me.
Costello: I throw the ball to who?
Abbott: Naturally.
Costello: Now you ask me.
Abbott: You throw the ball to Who?
Costello: Naturally.
Abbott: That's it.
Costello: Same as you! Same as YOU! I throw the ball to who. Whoever it is drops the ball and the guy runs to second. Who picks up the ball and throws it to What. What throws it to I Don't Know. I Don't Know throws it back to Tomorrow, Triple play. Another guy gets up and hits a long fly ball to Because. Why? I don't know! He's on third and I don't give a darn!
Abbott: What?
Costello: I said I don't give a darn!
Abbott: Oh, that's our shortstop.
​

Looking for Truth.

11/4/2015

 
Drawings from 11/3/2015, all pencil on paper, 20X16 inches
I am a stranger in a strange land. As trite as it reads, I am simply searching for truth. Yesterday's drawings are all over the possibilities of me, from weird reductive figuration to artificial three-dimensional landscapes. As is my habit, I redact none of it. You see it all, even the uncomfortable first drawing with the weird lady holding a plate of fruit. These drawings are me with a series of questions. I know I must commit in order to make substantial art. I must commit fully to a vision. I worry, probably correctly, that I am making drawings like these because it is easier than full commitment. I have set up my studio for the greater substance that comes with painting large works on canvas. Yes, I know what must be done. So here I am giving myself a pep talk. Go and do it!

The fascinating side of the room.

9/30/2015

 
Picture
"Beloved" (state 6), oil on canvas, 60X52 inches
There is fascination in the shape and form of the dust balls, and the weird slough-offs from plants and animals, that inhabit the edges and corners of a room. But that's not what this is all about. These are the structures and landscapes found in the edges and corners of my mind, my history, my weird dreams. Do all of us have these? I suppose, I assume. My father used to say (not original to him), "Don't assume or you will make an ass out of u and me." In my case, these are opening truth and circumstances very real to me.
Drawings from 09/29/2015, all are pencil on paper, 16X20 inches 
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    Self Expression
    Self-expression
    Self Fulfillment
    Self Identity
    Self-identity
    Self Knowledge
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    Vibrato
    Viewer Involvement
    Viewing Distances
    Virtue
    Volume
    Vulnerable
    Walk-around Reality
    Wisdom
    Witticism
    Wonder
    Words
    Work
    Worry
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    Zigzag

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