It is very difficult for me to pare down my visual ideas. I am working hard to become absolutely direct; so completely personal as to be impossible to misunderstand. Yesterday I was more successful in my painting, than in the drawings. In the drawings, you can see my effort to pare to importance, but they are not as convincingly reduced as the painting. Still, the painting has room to pare. Mostly that heart-like object annoys me (in the lower left); it has to go. What the hell is that, anyway? Of course you could say "what the hell are they?" about any of my forms. I am reaching for profoundity in form making; I am looking for universal, yet abstract, substantial forms; forms that are intuitively understood, if not immediately recognized as representational.
The refinement of Weoman is almost over. It is becoming itself. Soon I will be unable to refine the refined because the consequence of further refinement will be inconsequential.
Yesterday I drew on paper purchased at NYC's Blick Art Supply (13th & University Place) in April of this year. This was left over from a quick fix required by my One Brooklyn Bridge solo exhibit. In any case, this paper is rougher than I usually use; it is not stark white. The pencil went on differently and the image is different too. This is technical information of little consequence, except I note I like my harder, whiter, Stonehenge White paper better. My next drawing will be on Stonehenge White.
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