People play games, but generally the world pops over just the same. It is happening now. In the thick of it we are! As is my art. It is becoming its true self. This is happening because of consistent work; work based on deliberation upon deeds done, art made, ideas accomplished, successful ideas, ideas that failed.
Yesterday's work went splendidly. Delusion is always possible when I feel joyous because of success perceived. I do think yesterday's drawing, and this painting, indicate absorbed knowledge, finesse and clarity; this is not delusion. It is here, shown to you.
Yesterday felt right and good; I knocked around my images, as one does when searching a wall for a solid stud. These images, the ones I show today, are solid. They hold their own, They have strength and dignity. They demand perusal. They give satisfaction. That said, the painting,"Clever Liars", is incomplete. It requires sheer work, mindful work, to reach finality. It is almost there; it asks me, "When is enough good enough?" In others words, its essence is true; I cannot get much more truth by adding nuance, so why continue to develop it? Here is where a discussion of perfection is relevant. Simple it is: Intuitively I feel the need to make each one of those bright, cone-like objects, truly lit, truly three-dimensional in feel — their surfaces must feel touchable, like an egg in a Chardin still-life (see below).
The drawing is complex, indomitably readable, pure in its contrast of forms, forms left versus forms right. It this gaslighting? Does it make you question your sanity? My intension is to educate, not to admonish, "Ultimate sanity is comprehension, then acceptance; Contrast is part of our social order!"
There is great contrast in these two drawings. The first (07/02/2020) is thick, slow-in-coming, heavy with pencil marks. The second (07/03/2020) is light, agile; made quickly, easily. I will not judge the value of either. I am in the midst of unfaltering self-discovery. I will not give up. The first drawing clearly exhibits my modus operandi. I am obsessed; I need to make sense of it all. In the midst of mindful action I am unable to stop myself. This relentlessness is a result of belief in my ability to detect, discern, make visually real that which is in front of me, surrounds, imbues with feelings and charm. This possibility is the incentive for my relentless journey.
Pablo Picasso is known for his precise language, as well as precision in his art. I agree with much of what Pablo says. (Below, see Picasso's take on the inherent blindness of art-making and art-interpretation.) John Lennon wrote, "Happiness is a Warm Gun." I say, "Happiness is a Warm Pencil." Do I draw too much? Making marks is addictive, cathartic, warm, and clarifying. My drawing makes sense of my reality; others may find my art blind to the discomforts that are present in our political and social world. No matter; I probe my own depths. I am wide enough, deep enough, to be eternally in need of work; I am preoccupied with myself; I am working to understand. The reward? Me knowing more the more work I do. Subsequently, I feel enlightened, optimistic, and busy. There is much to do; I am solving my own mystery, which is the result of the mystery that is the world I live in.
Yesterday's drawings are robust, clear, and confusing. They are like real-life.
Pablo Picasso on Art-Making:
This drawing is a result of a marathon. Perhaps a marathon is a poor description of its journey; marathons take a little over two hours; this drawing took over 6 hours. My first question relates to its complexity: Is it too complex for the viewer to be immediately engaged? My second question: If the viewer is immediately engaged, will the viewer be entranced enough to hang in for this drawing's visual voyage?
The ultimate question regarding my art comes down to this: Are visual voyage marathons an effective means of communication? Or, do viewers prefer simple, direct, right to the point; i.e., give me a visual hit, give me a visual expression of emotion, give me a visual expression of intellect, but make it simple, go right to the point?
The drawing on the top is complete, done; the drawing on the bottom is incomplete, undone. "Undone" is harsh, but apt. It calls for correction; it calls for being put right; it is missing an element of angst, thus lacks effective strength of character. I won't be able to return to this drawing till tomorrow. It is complex; I did not have enough time to complete it in one session.
I am fascinated with the top drawing. In some areas the pencil barely scrapes its surface, other places it is deep and dark. Its mode of manufacture was quite different than the drawings shown in the previous post, which spilled out with force and clarity; this one came slowly, measured, feeling quite different in its creative process compared to the two drawings which preceded it.
I am a wave. I am a progressive. I surprise myself. I create stuff never seen before. I will continue, one day at a time, one step at a time, on a path to a place unknown. I am surprised; I am surprised everyday.
I heard Dave Chappelle say our current President is not the wave, he is surfing the wave. Waves go in and out. Idiots can surf, but they are unable to be the wave itself. Political progressives are waves. They are splashing onto our cultural beaches. Progressives erode our culture's ingrained, holdover ideas. Norms must be overhauled for our culture to be the best it can be. Progressives see a better way. It is unfortunate our current President has a bully pulpit; he calls to his slow-minded admirers, who want nothing to change. Progressives will replace the old with better. Progressives are creative, as creative as the wind that drives them. The wind moves our culture in the right direction. Unfortunately, we are forced to watch our President, an angry surfer, who speaks as if there is no Global Warming, as if nothing is changing. This guy likes the old ride, he likes his old Cadillac, not a new Tesla. His craziness is his old, dreary ideas; ideas that were set in the early days of our Republic. Old ideas need to change in order to recognize who we are right now. Our old man President learned to surf a long time ago. It is unfortunate his mind is not open to our needs. Changes are required in order to make us a better Republic.
I have high standards, in my art and in my relationships. It is my high sense of morality that keeps me true to myself, and true, or not true, to others. This Covid-19 era has forced me to look acutely at me, my here and now; it has awoken me, instigated higher awareness of myself and the people who are in my life, in my relationships. People, and my Art, presently appear to be starkly revealing, in some cases diametrical when compared to my view before the Covid-19 onslaught; it has brought extreme clarity. I am proceeding in a measured way, both with ideas concerning Art and ideas concerning relationships. Amazing it is, that it took a pandemic to force me to slow-mo into higher consciousness. As I age, as I see death and disease around me, I am sharply aware that my time must be taken very seriously; there is a limited quantity. I do not want to waste any of my existence on falderal or useless behavior.
Yesterday's work is dedicated to problem solving. What do I want to represent me? More, how do my momentary needs get translated into visual images? I deeply feel my "needs"; this is about emotion, intuition, walking a path, leaving detritus that represents my true self.
I am at a point of departure. I am stepping, not particularly caring where I go, but resolutely. This is not a time for self-judgement. It is time to allow images to be born out of intuition, deep knowing intermingled with angst. All bets are off; all absolutes are off, dependency upon past masters is off. I am just doing it.
I show today images like nothing I have done before; nothing I have seen before. Have you seen anything like these? These works are allowed to exist because they do not crush past knowledge, they enhance it. They are informed by the past, but they step out from it, not from underneath it.
Drawing, as dense as this one, do not reproduce well. This one you gotta see to believe. My work continues to banter with, and insist upon, the frontal obvious; i.e., truth telling must be in the viewer's face. I have written about this before, but in this drawing I reiterate my acceptance of all things flat that are made on sheets paper and on shards of canvas.
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