 "Something Else Entirely" (2019 No.4, state 22), oil on canvas, 38.5x62.5 inches {"And you’d spend years trying to decipher the sentence, until finally you’d understand it. But after a while you’d realize you got it wrong, and the sentence meant something else entirely." - Tadeusz Dąbrowski, from the poem "Sentence"} I wish this was easier. Being patient is painful. Waiting for revelation and realization distracts and annoys. I am required to bear it. Being mortal, having a limited time to get it done, worries me. This is constant. Revelation is also constant. The requisite activity is showing up, being awake and aware, reacting to truth and failure until satisfaction and fulfillment are achieved.
Yesterday's revelation is state 22 of "Something Else Entirely" (2019 No.4). It took a jump toward fulfillment by becoming atmospherically consistent. It is now close to completion. In fact, looking at it here, in reproduction, makes me feel warm with success. State 22 of "Something Else Entirely" is something else entirely from state 21. It has started making sense.
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 "Something Else Entirely" (2019 No.4, state 19), oil on canvas, 38.5x62.5 inches {"And you’d spend years trying to decipher the sentence, until finally you’d understand it. But after a while you’d realize you got it wrong, and the sentence meant something else entirely." - Tadeusz Dąbrowski, from the poem "Sentence"} "Something Else Entirely" has been very difficult for me. I feel I have encountered my evil within. This painting is in state 19, and it is NOT complete! Seeing my evil within is seeing the habits that have distracted me from reality. As I make this painting I am unearthing my faults, encountering my bad habits, seeing the manner in which I fall into erroneous steps while in process. Putting it more positively, because of this painting I have grown more truthful; I have thrown faults into the trash bin; I have accepted a more lucid view of reality. The painting, "Something Else Entirely", is much better now than it was before I worked on it yesterday. Also, I am much better. Honest reflexion upon my failures is the best means to comprehend truth and reality.
 "Something Else Entirely" (2019 No.4, state 18), oil on canvas, 38.5x62.5 inches {"And you’d spend years trying to decipher the sentence, until finally you’d understand it. But after a while you’d realize you got it wrong, and the sentence meant something else entirely." - Tadeusz Dąbrowski, from the poem "Sentence"}  Drawing 01·26·2020, graphite on paper, 16x20 inches Never be said that quick beauty is upon us. Beauty may be quick in discovery, but quick to production, no. Through an enormity of temporal passage its unraveling approaches real. Even when there is a then, another step will make it better. Thus is it happening here. The painting, "Something Else Entirely" (2019 No.4), is in state 18. It is better than ever, but it fails in many way that I can see. Failure drives me forward. By risk and alteration I will bend this complication toward its required outcome.
Yesterday's drawing is powerful.  Drawing 10·15·2019, pencil on paper, 20x16 inches  "Gunfire Across My Consciousness" (2019 No.5, state 7), oil on canvas, 48.5x31.75 inches {"My mind is just like a spin-dryer at full speed; my thoughts fly around my skull... Images gunfire across my consciousness... I jump in awe at the soul-filled bounty of my mind's expanse." -Christopher Nolan, Irish Writer on his reasons for writing "The Eye of the Clock", in November 8, 1987 "Observer"} Today's title is Wonky. As adjective, wonky is defined as "having or characterized by an enthusiastic or excessive interest in the specialized details of a particular subject or field." I'm obsessed by my quest to discover the subject of my art.
Yesterday's work is full of specialized details, all searching enthusiastically. I am excessively interested in detailed minutia. Every single part on my art pursues mindful visualization. I am getting better at this. Consequently, each mark takes its time, developing slowly, touch by touch, mark by mark. Yesterday's drawing is full of mindful spirit. I approached it as I do meditation. Marks were allowed to dictate their own time coming; they slowly searched, maturing till truth be told. Truth is dictated by intuitive decision-making, only when correctness is perceived do I move on. If I misstep in my journey, erasure is used. Normally methodology is two steps forward, one step back, two forward, et cetera. Not yesterday! The marks came mindfully slow, but the product came more quickly than usual. Mindfulness was more present than ever before. Thus I achieved more in one studio session than usual. I achieved a very good drawing, and I painted well too — both in the same day.  Drawing 10·05·2019, pencil on paper, 16x20 inches Showing up is not enough. Recognition of appropriate spirit in the work is most important. This includes stepping back when proper insight in unavailable. There is an ebb and flow to self-comprehension, self-availability, self-intuition, and self-awareness. Recognizing this through the process of art making is the process of recognizing days of clarity and insight versus days of muddle and muck. Fortunately, though work, by showing up, day after day after day, the days with lack of clarity are few. I believe this to be true, but I also acknowledge there are days when I believe I am doing great things until I come in the next day, then I acknowledge more failure than success. This is the reason I believe in two steps forward followed by one step backward. Backward may be the wrong term, because failures lead to introspection, learning, insight; the stuff that guides to success.
Yesterday's drawing was filled with stepping back to query. I kept asking myself, "Does that make sense?" There are parts of this drawing on the edge of believability, like the circle-like shadowing seen in the right side of the drawing. The shadowing lies behind, and within, forms that produce an area of juxtaposition to the rest of the drawing's forms. It works spiritually. Is that enough?  Drawing 10·03·2019, pencil on paper, 20x16 inches Working to know is as effortful as working to un-know. Actually, if knowing is accomplished, then one un-knows at the same time. I have thrown out many misconceptions. My art is stronger for it. My current art is the best I have done, and it is getting better, effort by effort by effort. Art-Making is not relaxing; more like Sisyphus pushing the rock up the mountain. However, it is two steps forward for every one step backward. There is a difference between me and Sisyphus; I am getting closer to the top of the mountain.
Yesterday's drawing is strong. It was found through finding and destroying, marking then weeding out the errors. Errors, when identified, are intellectually definable. The same goes for truth. You know it when you see it, then you can explain it.  "Sentence" (2019 No.4, state 10), oil on canvas, 38.5x62.5 inches {"And you’d spend years trying to decipher the sentence, until finally you’d understand it. But after a while you’d realize you got it wrong, and the sentence meant something else entirely." - Tadeusz Dąbrowski, from the poem "Sentence"} I can feel more than I can see. Yes, you can see the alterations I made to the painting, "Sentence". The changes are great and wonderful, but they are not as starkly in revolt as I know intuitionally inside myself. I am welling up, like a water ballon on verge of explosion. But, I am loyal too. Taking on a civil war is difficult for me. I want change. I need to rebel against my establishment, but the rebellion cannot happen instantaneously; that is not the way I am. I act with discomfort and allegiance. The two are not incompatible. I have a past, I have a future. Both must be understood. I am the caretaker of both. The future does not divulge itself without its past. The past is full of deeds — some successes, some failures — ALL informative. The ALL drives me into the knowing required to act well, right here, right now.
 "Sentence" (2019 No.4, state 9), oil on canvas, 37x61.5 inches {"And you’d spend years trying to decipher the sentence, until finally you’d understand it. But after a while you’d realize you got it wrong, and the sentence meant something else entirely." - Tadeusz Dąbrowski, from the poem "Sentence"} Freedom is not being burdened by tangled-up ideas. Art should be made by the newly sighted. It is better to think without knowledge until a white canvas appears. Yesterday was tough. I worked to untangle the mess I had made to the painting "Sentence" — today I show state 9; I am far from being done with it. Metamorphic rebellions are not made by acceptance. Nothing I have done escapes doubt. Examination and evaluation are never conclusive.
 "Doublethink" (2019 No.3, state 5), oil on canvas, 58x58 inches {"Doublethink means the power of holding two contradictory beliefs in one's mind simultaneously, and accepting both of them." -George Orwell, "Nineteen Eighty Four" (1949)}  Drawing 07·14·2019, pencil on paper, 20x16 inches My work does not come easy; never feels immediately right and good. I'm always troubled; always wondering about the means to better success. Best is my being there, doing this, living the questioned life.
 Drawing 06·26·2019, pencil on paper, 20x16 inches  "Doublethink" (2019 No.3, state 4), oil on canvas, 58x58 inches {"Doublethink means the power of holding two contradictory beliefs in one's mind simultaneously, and accepting both of them." -George Orwell, "Nineteen Eighty Four" (1949)} I like this drawing very much. But the painting, Doublethink, is me in doublethink. It is full questions, most of them unanswered. I love the time I have to doublethink, triple-think, think-a-myriad. Life is good.
Entrance must have immediacy. My drawings are beginning to understand this. Today's drawing does this well. Doublethink disturbs because that red form separates itself. It is looking for coherency. This may come through atmospheric effects or through formal effects. I am unsure. Not being sure is exciting. It means testing and questioning and finding answers not known before. Life is good. |
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February 2020
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