 Drawing 04·20·2019, 20x16 inches, pencil on paper As I made yesterday's drawing I felt rusty, a little out of touch with my present ideas. But here it is, and here I am. I continue on the labor of readying my paintings and drawings for the AVA Gallery exhibition; my works will be delivered this coming Friday, April 26. In making yesterday's drawing I had to wrangle with myself; I had to force myself to focus on my two most present interests: (1) Full frontal composition akin to the means Pablo Picasso used, and (2) A greater involvement with the emotional subtleties that are available when negative space is used effectively. Yesterday's drawing approached both of these interests, but became dark and menacing as it was worked and re-worked; I hit it with an extreme amount of pencil marks. This drawing did not come easily. Today, I finish touching-up the last two paintings going to AVA Galley, and I framed two of the four more drawings I must frame for the AVA exhibit. Perhaps I will get a chance to draw. I very much want to keep in touch with my current thoughts.  Pablo Picasso, "Three Musicians", oil on canvas
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 Drawing 04·14·2019, pencil on paper, 20x16 inches It took me two days to make this drawing because I did not have the time to do it in one sitting. This time management is caused by the necessity that I frame works for my upcoming exhibition at AVA Gallery. If you follow the link to AVA you would see the announcement on AVA's homepage. Going away from a partially finished drawing, then returning to finish it, is both beneficial and detrimental. Beneficial because it forces introspection upon return to the half finished drawing (I see it afresh; I see it more clearly; I immediately recognize its successes and failures). The detrimental part is me losing track of the original question I asked. In this case, in the drawing I show today, I wanted to inspect the possibilities of vigor in an insistently classically flat composition, one designed to be seen flat in the viewer's face. I often think of the great success Pablo Picasso had using this method in his painting Guernica, which has a central flat, in the viewer's face, triangle, surrounded by two side panels.  Pablo Picasso, "Guernica", oil on canvas, 1937  "How's It Gonna End" (2019 No.2, state 15), oil on canvas, 60x33 inches {"Life is sweet at the edge of a razor; And down in the front row of an old picture show the old man is asleep as the credits start to roll. And I want to know, the same thing everyone wants to know, how's it going to end?" -Tom Waits}  Drawing 03·31·2019 No.1, pencil on paper, 16x20 inches  Drawing 03·31·2019 No.2, pencil on paper, 16x20 inches When film was film I would take photos with it, develop it; first the negatives (in the dark of a developing tank), then the positives (in a dark room). I have aged. Film has left us, replaced by digital imaging, but I make analog images with pencil and oil paints. My recent passion in image-making is introspection regarding the power of the positive and the negative. George Eastman, the founder of Eastman Kodak Corporation, said, "Character, like a photograph, develops in darkness." This is me developing; unlike film, this is digital. This is the age of digitation. Now we use the digital World Wide Web. At one point I would have written this in my journal, but that was before blogging was possible.
All three images I show today are jumps in personal expressive progress. I am optimistic. I will solve my angst, my problems; I will find a way to express myself well. I do not want to live in darkness. Here I am!  Drawing 03·28·2019, pencil on paper, 16x20 inches Yesterday's studio session was a lot of me sitting and observing. Surprised I was at my having ignored the potency of negative space. I sometimes feel awash is quandary. Why did I so actively attack the positive forms as animators of my images? Why did I not look ardently at negative space as animator? I picked up a few books; I looked at images of works from de Kooning to Guston to Matisse. All of these artists, like me, tend to clog their canvases with marks, making negative space look like an afterthought. Their drawings, however, are different. Negative space is more important. (See drawings by these artists, below.) Today, I offer you a drawing of mine (made yesterday). In it I use negative space effectively. Learning never ceases. Learning sometimes leaves me with a feeling of loss; Sometimes it hurts! Why did it take me so long, some many drawings, so many paintings, to realize the great emotional and intellectual value of negative space?  Willem de Kooning, "Untitled", charcoal on paper, 1966  Philip Guston, "Web", India Ink on Paper, 1975  Henri Matisse, "Lydia with Her Hair in a Net", pencil on paper, 1939  Drawing 01·31·2019, pencil on paper, 20x16 inches  "Chaos, Stillness & Prayer" (2018 No.9, state 8), oil on canvas, 54x36 inches {"Art has something to do with the achievement of stillness in the midst of chaos. A stillness which characterizes prayer, too, and the eye of the storm.... an arrest of attention in the midst of distraction." -Saul Bellow, "Writers at Work: Third Series", 1967} I will not relent. This is poetry. As poet I continually revisit, alter the script yet conserve the basic idea; My process is consistent enhancement of meaning. That is my job. This work of mine will not become genre, nor will it become extinct. Like Rotrouenge, it is lyrical and has repeated elements that may be called refrains. However, I believe in contrast; the repetition of marks and/or forms is contrasted against the entirety. I also believe my work is mostly similar to Rotrouenge because "...the original genre may have lost its distinct identity." Yesterday I revisited the painting "Chaos, Stillness & Prayer" (2018 No.9). Today I show state 8. It is now essentially complete, yet requires a once-over to affirm its completion. Yesterday's drawing continues my research into hard versus rounded forms. Rotrouenge (from Wikipedia)  Drawing 01·30·2019, pencil on paper, 16x20 inches Insight comes in many varieties. Sometimes it is self-induced. Often it occurs because I see something in my environment that indicates there is a better way. My environment includes people and books and history and magazines and blogs and reproductions of art and memories of the art I love. The drawing I show today is me reacting to the forms in my painting "The Doctrine of Liberty". This drawing is insightful. It occurred because I was seeking a means to muster maximum strength from the forms in "The Doctrine of Liberty" — particularly the major letter-G-like form in the left half. Yesterday's blog post referred to Pablo Picasso. Picasso once remarked that he had tried so many disparate means to make a painting that generations of artists would use his loose ends. This has happened to me. Yesterday I showed Picasso's painting "Figures at the Seaside". In it the forms are not simply rounded, as some of my larger forms tend to be; the forms in "Figures at the Seaside" have hard, soft, and rounded edges. This painting gave me insight, as do other works by Picasso that deal with abstract forms that resemble the kind of forms I tend to generate. You can see it in the drawing I show you today. Below I attach a couple other works by Picasso that investigate the means to animate three-dimensional forms.  Pablo Picasso, "Seated Bather on the Beach", oil on canvas, 163x129.5 cm, 1929  Pablo Picasso, "Bather", 1929  "The Doctrine of Liberty" (2019 No.1, state 6), oil on canvas, 66x59.5 inches {"I believe there is a golden thread which alone gives meaning to the political history of the West, from Marathon to Alamein, from Solon to Winston Churchill and after. This I chose to call the doctrine of liberty under the law." -Anthony Sampson, "The Changing Anatomy of Britain", 1982} The dynamics of "The Doctrine of Liberty" has increased. I am to blame, but I also thank Picasso, who came before me.  Pablo Picasso, "Figures at the Seaside", oil on canvas, 1931  "The Doctrine of Liberty" (2019 No.1, state 1), oil on canvas, 66x59.5 inches {"I believe there is a golden thread which alone gives meaning to the political history of the West, from Marathon to Alamein, from Solon to Winston Churchill and after. This I chose to call the doctrine of liberty under the law." -Anthony Sampson, "The Changing Anatomy of Britain", 1982} I have been thinking about The Law — The Law for a visual artist in 2019. An End to Litigiousness? is the title of my 1/16/2019 Blog Post. This deserves an answer: "In 2019 can art be made without The Law?" Yesterday I began a new painting. I call it, The Doctrine of Liberty. The Doctrine of Liberty has intent. It intends to be one possible answer to my litigious question. It may go astray during its construction. As usual, I will attempt to discover myself through my art-making. I will generate new information. This will lead to better informed answers. Truth will be strengthened. The Doctrine of Liberty is scalped from Anthony Sampson's famous book, Anatomy of Britain. To further clarify my reasoning I slightly alter Sampson's quote: "I believe there is a golden thread which alone gives meaning to [The Art History] of the West." I could have called my new painting A Golden Thread. I chose The Doctrine of Liberty because this painting is a statement, albeit part of a golden thread. It is me seeking personal liberty, personal truth. Anthony Terrell Seward Sampson (3 August 1926 – 18 December 2004) was a British writer and journalist. His most notable and successful book was Anatomy of Britain, which was published in 1962 and was followed by five more "Anatomies", updating the original book under various titles. He was the grandson of the linguist John Sampson, of whom he wrote a biography, The Scholar Gypsy: The Quest For A Family Secret (1997). He also gave Nelson Mandela advice on Mandela's famous 1964 defense speech at the trial which led to his conviction for life.  Drawing 01·13·2019, pencil on paper, 16x20 inches Here and there I have done drawings that speak more loudly to me than others. In plastic sleeves they are placed upon my work wall. I look at them, day after day, over and over; slowly, v-e-r-y s-l-o-w-l-y, I comprehend the reason the few speak more potently than others. I like yesterday's drawing very much. Yesterday's drawing does speak potently to me. Yet I cannot judge it well so quickly. I have placed it upon my work wall, in a plastic sleeve next to the other drawings I have found lastingly potent. It will take some time, slow contemplative time, before I know if it is powerful enough to be placed in my pantheon of most influential drawings. Yesterday's drawing is excellent; I know now it is excellent, but does it have lasting emotional and intellectual qualities. I seek tunes that forever sing deeply upon return upon return upon return. This one calls deeply to me right now. Yep, it is emotive. Yes, it is powerful in intellect and in strength of feeling. Will it remain one of my most meaningful works? Slowly, over time and many looks, I shall know.
 "Seriously?" (2018 No.11, state 13), oil on canvas, 49.8x62.5 inches {"All higher humor begins with ceasing to take oneself seriously." - Hermann Hesse, "Reflections", ed. Volker Michels, 1974} I just keep going along, self-doubting myself into returning to seek meaning in myself. Doubt creates problems to resolve. However, recently things have changed for me. I am respecting my instincts. I follow them. By acting upon instincts I am better at discovering self-truth. The painting, "Seriously?", exhibits more truth now (in state 13) than it did in state 12. Philip Roth's attitude, that work causes self-revelation, has helped me enormously. It is important to find camaraderie in people who have come before; people who have used creativity to find personal reality. I am assured working, experiencing, does unravel truth. Effort is leading me onward, but it is comforting to have a predecessor, a mentor, to tell me this can be done. Again, thank you Philip Roth!
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April 2019
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