 Drawing 03·22·2020 (state 2), pencil on paper, 16x20 inches  "Something Else Entirely" (2019 No.4, state 26), 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 have written about Leo Tolstoy's "Great Man Theory." I called it Tolstoy's theory, but that is not correct. I called it Tolstoy's Great Man Theory because it is to Tolstoy's ideas that I subscribe. Tolstoy's "War and Peace" features criticism of Thomas Carlyle's Great Man Theory. According to Tolstoy, the significance of great individuals is imaginary; as a matter of fact they are only history's slaves realizing the decree of Providence. I do not believe in the Great Man Theory of Thomas Carlyle. Carlyle originated the idea that History is created by individual Heroes. This is idiocy! Carlyle's Theory cannot describe the rise of Adolf Hitler; Post World War I German society called for a bombastic man, a man full of hate. Hitler was not a Great Man, but Hitler did force every culture, in every nation, to change! History, like science, like my art, takes a step backward for every two steps forward. Our society is in the midst of a step backward, but soon our society will take two steps forward. I am watching our nation's Republican leadership fade into History; they will soon be replaced by their betters. Pandemics will be better handled; Global Warming will be tackled. Our society is living through a confused time. Almost half our population believes there is this man who will fix our problems; they made him President — nothing says confusion clearer than that! For my part, I am divorcing myself from it. There is no such thing as a Great Man. There are smart men, men who see and understand the intelligence of the most balanced of us. These men advance the ideas of us who wish to run society based upon ideas known through intelligent and realistic thought. For instance, science tells us Global Warming is a problem; most people believe this; most people see the world correctly. We have a President of the United States who does not believe Global Warming is a problem. We have a President who believes the Coved-19 cure is worse than the disease; he says we should ignore the Covid-19 outbreak after Easter Sunday 2020. Science tells us otherwise. I am the product of the time in which I live. I am expressing myself by stepping forward. The body of knowledge I have been given is my stepping-off point. This knowledge is helping me express my perception of here and now. You can see this in the work I show today. BTW: The paintng, "Something Else Entirely" is in State 26, but this state took only one small stroke of paint to move to this much more satisfactory conclusion. Little things do matter! Thomas Carlyle stated that "The history of the world is but the biography of great men", reflecting his belief that heroes shape history through both their personal attributes and divine inspiration. In his book "On Heroes, Hero-Worship and the Heroic in History," Carlyle saw history as having turned on the decisions, works, ideas, and characters of “heroes".
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 "Your Decisions Matter" (2020 No.2, state 4), oil on canvas, 52x55½ inches {"It's essential that you believe as if your decisions matter... reality isn't important; what's important is your belief..." - Ted Chiang, "Exhalation", 2019} Perhaps, just perhaps, I understand the direction my art is going. This is phantasmagoria. My art is beginning to express phantasmagorical experiences. My images are each part of a sequence that is the real confused with the imaginary. My images are like those seen in a dream. My dreams, like yours, are connected to walk-around reality, but are expanded through emotions and intellect. I do not recognize the places in my drawings and paintings. The painting, "Your Decisions Matter," represents a dream. We are hunkering down in our respective spaces. Our current world feels like a dream. We are waiting for the next shoe to fall. This is surreal. It is unlike anything we have experienced. It is not normal. It will never become normal. It shall pass. It has enlightened me; I believe it has enlightened everyone. Our entire world is involved. We live as one organism, fighting off the same foe. My enlightenment is expressed in a selfish manner; I make art. Through art-making I understand more about myself. I am asking myself this question, "What things are really worth making?" The images I am making require the viewer to cease security, cease personal realms of seeing. Come with me into a place whose space is not normal, where one can live without the stresses of reality. Give into my images and you shall know more. The sights you live with, those you see outside of these images, are limited to your personal reality. These images are a world unto themselves; these images are like you; they are individual expressions. Each expresses itself as itself. Each of you express yourself as yourself. You are all different. My images are all different. The measure of my art's success is self-enlightenment; do you know more after viewing them? If my art succeeds, you will understand more about yourself, you will understand more about here, now, and each step you choose as you go forward.
 "Your Decisions Matter" (2020 No.2, state 3), oil on canvas, 52x55½ inches {"It's essential that you believe as if your decisions matter... reality isn't important; what's important is your belief..." - Ted Chiang, "Exhalation", 2019} Fantasy and reality become the same in a painting. Such it is with the painting, "Your Decisions Matter". In this painting I see reality. I can feel reality; I also see fantasy. Big blockbuster TV series do much the same, like Game of Thrones. It ain't real; that depicted never happened, but it mimics, rhymes with stuff we know exists. That is the way my art is going. This painting, aptly entitled "Your Decisions Matter", is proof. I had to work many years to get clarity. All my work, the hundreds of paintings, the thousands of drawings, led to this. I know better who I am. I know better the means to express myself. This is reality. I feel safe. I can now come out.
 "Clever Liars" (2020 No.1, state 04), oil on canvas, 56½x45¼ inches {"Clever liars give details, but the cleverest don't!" - anonymous} There were the Righteous Brothers. Here's a Righteous Image! More images like this will be a-coming; I have learned I relish direct, in-your-face, principled, irreproachable, and uncorrupted images. I have had a difficult time getting here. Discovering images like these is arduous; I am in the midst of arrival. Images are a-coming that will be easy to visually comprehend but emotionally and intellectually complex. These works will require the viewer to slow down, contemplate, have an extended life of involvement; living with images like these is necessary. Living with these works is like living with a mate; there is no quick way to fully comprehend the character of the being; slow, steady observation, coupled with slow steady contemplation, is required to fully understand. "Clever Liars" is in state 4. Its needs are becoming clarified. Today it calls upon me to paint. right·eous | ˈrīCHəs | (adjective)  Drawing 02·26·2020 (state 2), pencil on paper, 20x16 inches  Unnamed (2020 No.2, state 1), oil on canvas, 52x55½ inches {Reference quote to be added after painting named.} The world feels queasy and uneasy. The drawing began on 2/26/2020 came to conclusion, but everything else in my life (and living) is up in the air, being questioned, is in search of resolutions. The darkness that is "Drawing 02·26·2020 (state 2)" is solidly frank; it speaks in a world in which light is sought, darkness abounds, but clarity can been seen — the forms within are definitive, edges are comprehended, the space in which its forms reside is known. This drawing is solace for the poor of spirit. Our spirits shall be redeemed.
The new painting, begun yesterday, remains unnamed. Today it will receive a name, one that reflects the state of my mind as I begin this new search for truth, clarity, and self-knowledge.  "Something Else Entirely" (2019 No.4, state 24), 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 declare "Something Else Entirely" finished! The drawing (below) is NOT finished. Looking for completion is an impossible task. I move on when works get to a place where they have said as much as they are capable of saying.  Drawing 02·26·2020 (state 1), pencil on paper, 20x16 inches  "Clever Liars" (2020 No.1, state 01), oil on canvas, 56¼x45¼ inches {"Clever liars give details, but the cleverest don't!" -anonymous}  Drawing 02·22·2020, pencil on paper, 16x20 inches I have often referred to the feigning of the third dimension on a two-dimensional surface as artifice. Here is it again, in a new painting, and in a new drawing; both are products of yesterday's studio session. The painting is aptly entitled "Clever Liars"; its third-dimension is a lie. My quotation is an old one, one with no known author. The idea is "details" diminish the cleverness of a lie. Too many details in a lie diminish its acceptance in marriages, business, and politics, not so in art. The more detail in a drawing, or a painting, the more the viewer accepts the artifice. If you don't believe me, or if you don't see this in the work I post today, view the 2014 watercolor painting by Anselm Kiefer, below; you can feel your eye fall into Kiefer's painting, scoping back until the eye hits the artifice that appears to be a sunset. This use of the third dimension is very important to me. I find an image which engages the viewer because it insists upon being seen with a third-dimension, a grandly accepted lie; the lie of depth on a flat plane, forces the viewer to think actuality, i.e., the viewer has an additional incentive to believe the image before them mimics reality. They fall into the artwork as people fall into a con job. I have been told the greatest cons are those the "mark" believe they have determined to benefit themselves; the mark determines they will benefit by causing a loss to the con-artist; the "stooge" thinks the "grifter" does not understand how he, the "confidence man," will lose when the "sucker" goes ahead and takes the bait. FYI: A confidence trick is also known as a con game, a con, a scam, a grift, a hustle, a bunko (or bunco), a swindle, a flimflam, a gaffle, or a bamboozle. The intended victims are known as marks, suckers, stooges, mugus, rubes, or gulls (from the word gullible). When accomplices are employed, they are known as shills.  Anselm Kiefer, "The Evening of All Days, the Day of All Evenings", watercolor on paper, 2014  "Something Else Entirely" (2019 No.4, state 23), 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 02·19·2020, graphite on paper, 16x20 inches Better and better; my art, with every day of thought-labor and physical-labor, is becoming the visual representation of the omphalos of my being.
 "Inertia to Movement" (2019 No.6, state 4), oil on canvas, 66.25x65 inches {"Emotion is the moment when steel meets flint and a spark is struck forth, for emotion is the chief source of consciousness. There is no change from darkness to light, or from inertia to movement, without emotion." -Carl G. Jung (1875-1961), "The Archetypes and the Collective Unconscious", 1955, translation R.F.C Hull} It is work to be open to surprise. The painting, "Inertia to Movement", is coming at me in a very different way than any painting I have worked on before. It looks different. Its process is different. It is an excellent surprise, one that feels right and good.
Yesterday "Inertia to Movement" underwent vertical expansion, as well as additional application of paint.  "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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March 2020
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