Whatever you see in this drawing I see a reverse triangle that instigates great compositional vigor. I have noted before that Picasso utilized a tried and true center triangle in his masterpiece Guernica. Picasso's triangle is so forced as give the viewer boredom after multiple viewings. This highest clarity of composition does allow Picasso to invent incredibly rich, novel, and greatly emotive forms. It allowed Picasso to perform with intuitive abandon on a rigidly organized frontal compositional assault. Marvelous it is that Picasso absorbs the viewer in the active emotional strife of his characters. These hurt and screaming figures reside comfortably within a securely balanced image. Security versus chaos is Picasso greatest theme. Giving the viewer security, so they may feel comfort while they view chaos, is the reason I am deeply influenced by Picasso's best paintings, drawings, and prints.
Returning to my drawing of yesterday: What I have called a "reverse triangle" can be found with one of its points cut at the bottom of my drawing. It moves the viewer up and around the two major forms on the right. Those forms, juxtaposed as they are by spherical versus cubic centers, each play with dissimilarity against the other. This occurs comfortably because they reside nicely in a secure, upside-down triangle. To be absolutely correct, there is no triangle there! My "reverse triangle" has its bottom point cut to flatness. Mathematicians call this shape a trapezoid.
Too high a level of biomorphism bothers me. I believe strong biomorphism forces the viewer to think of animals and insects and extraterrestrial aliens (as depicted in films), rather than clear-sightedly being involved with composition, color, and forms. I want the viewer to visually dive into my art, be consumed by its reality. I don't want the viewer to think about external references. I want them to be here, now. Is this possible? Not completely. We all live in a world of forms and color. Our references are demanding, both intellectually and emotionally. Those who find spiders an emotional conundrum probably see a spider in "2016 No.14" (although it only has four appendages). I see a form stretching itself, forcing the space into three-dimensions. I am hoping this causes spatial tintinnabulation, making the absence of form ring, as if the air itself is alive. This is me trying to enliven the third-dimension of negative space on a two-dimensional plane.
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