 Drawing 08·04·2020 No.1, pencil on paper  Drawing 08·04·2020 No.2, pencil on paper Home is where the heart is... that describes my search. I want to be comfortable with my art-making. This is new for me. I have, for years, challenged my own assumptions, my own education, and my learning. I doubted everything I had been told or learned from books and mentors. This brings me here, to today. I am seeking the comforts of home. Thus comes these drawings. Finding a cozy home is not easy. Think about; you live in a home. Is it perfect for you? Like making art, arranging a home to satisfy oneself, to represent oneself, is an ongoing, never-ending process.
  Drawing 08·20·2019, pencil on paper, 16x2 inches I have been away from the studio. I was attending serious business. I visited museums. I had a dream in which I dialogued with Picasso. I contemplated. I retreated from Making-Art. I contemplated Making-Art. My many recent exhibitions left me confused. "What am I doing?" and "Why am I doing it?"
The art-making I seek requires skill and talent. Today's contemporary art scene often appears devoid of skill. That said, there is a talent there, one that causes public and private interest and engagement. We live in a world where celebratory personalities head countries and engage many followers. Upon inspection, some of these leaders are devoid of the required skill and knowledge to do their jobs well. However, there is talent there, a talent that causes public discourse and public interest. That is the definition of Artist. This illustrates my personal quandary. My confusion is comprehensible. I received a lot of positive feedback from artists, some gallery and museum directors expressed appreciation of my art. I did not get a lot of sales. I take lack of sales as lack of engagement. My viewers did not choose to put my art on their walls. Desire speaks of engagement. I want espousal; I want my viewers to want my art. If they do not want it they must not need it. I have failed if my viewers don't need my art, if they don't need to buy it, or own it. I feel I did not fully engage my viewers. This saddens me. I want more. I want my relationship with my viewers to be consummated! My skill is extremely high. I can do anything on paper (or canvas) that I can imagine. Perhaps I have restricted my imagination to knowledge already acquired. I must engage my skill with greater abandon, with ambition to disclose more deeply than that which I intellectually comprehend. I am not who I think I am; I am more. The only way to know oneself is to uncover oneself. I must walk naked into the world. People love to look at naked people. They are unable to NOT look. Is this the gap I have been unable to fill between my viewers and I? I need to take off all of my clothes. Referring to popular culture, this is what I see, We have a president of the United States who is more reality TV star than successful statesman or successful business person. This man obtained his lofty position by appearing to be upfront and personal (despite the many questions surrounding his truthfulness). He has engaged our entire population despite his lack of skill for his current office. That is his talent. It is talent that may serve me well as artist. I want to engage. I want people to pay attention to my art. There are NO limits to what I can do because I have the necessary skill to do it. My failure to fully engage my viewers is my lack of a certain kind of talent. One can see the talent I am missing in our current president, also it is present in reality TV stars, in pop music artists, and in show business celebrities. The artist Andy Warhol was more a successful celebrity than a skillful artist. This explains a talent I must nurture in order to fully engage my viewers. My extreme artistic skill is squandered if I do not have the talent to engage my viewers. I dreamed I was with Picasso in his studio. Picasso threw me out. Picasso silently waved goodbye to me. I reluctantly gave in; I said goodbye. I walked away from one of my great educators. I do not need mentors any longer. I must rely solely on myself. It is no longer about what I know; it is about what I do not know, what I need to discover. Yesterday's drawing is much different from the one in this blog's previous post. There is a two-week gap in time between these two drawings. I have begun to take steps without knowing where I am stepping. I step in confidence without knowing where the next step will lead. That is a good thing.  "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!
 "Cave" (2018 No.1; state 5), oil on canvas, 68x53 inches {"At eighteen our convictions are hills from which we look; at forty-five they are caves in which we hide." - F. Scott Fitzgerald, "Bernice Bobs her Hair" (1920)}  Drawing 05·10·2018, pencil on paper, 16x20 inches I was looking at my principal mentor's art. I realized he, like I, sought a monumental response to his images. He was Philip Guston. Yesterday's work strongly brought on this monumentality. It is the same strength I like in Anselm Kiefer's work. And so it goes; and in so it comes....  Philip Guston, "Back View", oil on canvas, 1977  Drawing 11·18·2017, pencil on paper, 16x20 inches This drawing looks forward, looks back. There is a dangling whip there, so it must look back to my mentor, Philip Guston. It looks forward because it is only something I would do. I do not know anyone so completely involved, so entranced, by simultaneous in and out and across composition. Two Works by Philip Guston  |
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