The painting “Crevice” continues on its long path toward becoming mine. I wish I could get there more quickly. Insights reveal slowly, come one by one; I creep on my path to acceptance.
It ain't easy being dedicated to oneself. Arrogant fools yell and scream and complain because they are content with their feelings. Arrogance, in my experience, walks hand in hand with ignorance. Intelligence is never content with ideas and values. Intelligence craves openness, is always introspective. Intelligence understands true morality, welcomes multitudes of ideas; ideas quickly accepted are suspect.
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."
Feeling a lot in the making of visual art means pushing the possibilities that marks and forms allow; this is done in order to approach the craziest of emotions while sticking to the time-honored definition of a rectangular plane's ability to be seen properly by viewers. Communication is engagement; engagement would not happen if the images created are far afield from the recognizable. A viewer must be somewhat comfortable in order to enter, then explore. It is in the exploration that art is made and art is seen.
Yesterday's drawing is one more effort to bridge the gap between all that is known and all that I know and feel. I am working hard to keep myself, and the images I make, centered. "Centered" is full acceptance of me in the world. All is possible if I limit myself to real possibilities, not to a wish list based upon fiction and fantasy.
The cliché about the elephant in the room is upon me. Direct, emotive, head-on, purposeful slam and damn, is necessary; it is no longer possible for me to ignore. I have tried to avoid this elephant, this inevitable realization; my art has suffered because of my ignorance.
Yesterday's work recognizes reality; I accept necessity. Yesterday's drawing, and the changes made to the painting, "Amidst a Falling World," are actualizations of necessity. Viewer engagement requires the image be immediately recognizable; this means it must be without pretension. It must sit squarely, recognizably, in front of the viewer.
I have done a lot of work, tons! Yet the insights keep coming. New knowledge never dies of old age. Looking back, perhaps I have not been clear enough, direct enough, not as forcefully true as required to be fully communicative. I worry. Perhaps my art has been difficult to comprehend. Perhaps my previous work has been more complex than simply lucid. In comparison to older things yesterday's drawing are simply intelligible. These drawings go right to truthfulness, i.e., they communicate without distraction. My art is beginning to make complete sense.
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