Purity v. Emotive Complexity
I want my Art to simultaneously contain purity and emotive complexity. Are they mutually exclusive? I believe Mark Rothko, and Ellsworth Kelly, have proved otherwise. And... they are not the only ones.
Negative space is paramount as emotive structure. Positive forms share responsibility; forms must be profoundly, attentively complex, while positioned sparsely within negative space.
Yesterday's drawings continue my research into this dilemma, purity versus emotive complexity.
Keep On, Keep On Changing
Insight and disease are not mutually exclusive. However, this pandemic, this disease, this Coronavirus, is helping me see more clearly. Insight is upon me. I have slowed to a pace of inevitable knowing. Peculiar it is, the greatest creativity occurs in the most stressful of times. It feels similar to a bicycle crash I once endured. I lost control of my bike; I was speeding down a tarmac road; the road was covered in a glaze of sand left over from winter salt & sanding; during a turn the front wheel slid on the sand. As I spun and churned toward the tarmac, I made decisions on how best to hit the surface of the road; a fraction of a second turned into an extended time; I was able to make a creative decision to save my life. I pushed the bike away so I could roll, rather then remain beneath the soon-to-be horizontal bike to be forced to scrape myself to the bone. I was wearing a bike helmet, which cracked, but otherwise I had nothing on but a T-Shirt and thin nylon pants. I ended bruised, with minor scrapes. I am taking scrapes in this virus outbreak. So far, my loved ones, when infected, have recovered. Me, I may, or may not, have had the Coronavirus. I experienced a period similar in symptoms to Covid-19, but no test to verify.
Yesterday was an exciting time in the studio. I had insights a-many. I believe many past works were confused in purpose. I have a simple objective; I wish to express simple truths; I wish to express being here and now. In response to this realization, my drawings are becoming basic truths; these drawings are more simple than previous ones, more direct, more felt, more readable by their viewers. This time of stressful quandary is rewarding me; I am experiencing good within the distractions a world dominated by disease.
Where in the Interest?
"Build a better mouse trap and the world will beat a path to your door!" That old saying should apply to my work. No one is more skilled, making more important investigative art, than I. Where's the beat to my door? The knocking is there, but sale prices for my art are minuscule compared to the $120,000 paid recently for an actual decaying banana duct taped to a wall. Amazingly, two editions of this sculpture[sic] sold, each for $120,000, at this year's Art Basil Miami.
In any case, I am not there yet. Yesterday's drawing will be improved. The ground of its upper left portion is indicated by line strokes. I must stop being so pure, insisting (as I have) on strokes of pencil rather than smooshes of graphite. Today I will fill in the upper left portion with smudges of dry graphite. Check back tomorrow for state 2 of this drawing.
Finessing the Finish
The painting 2017 No.13 is solved, but not finished. Here comes the finesse. There are issues which must be resolved, although minor but important. One example is the black frame on the left. The actual image needs to expand to the left, so the black frame will diminish in width, i.e., the left black frame will (most likely) become one constant vertical bar. There are other minor alterations required. Best you just wait and see.
Yesterday's drawing was unusual in its purity. It makes me think of the work of Giorgio Morandi.
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