NO, This is not a May Day Revolution. This painting, 2017 No.8, is not revolutionary. Ditto yesterday's drawings! The painting is thoughtful, perhaps made in a manner not unlike the revolutionary writings of Karl Marx or Vladimir Lenin. One does not form the tenants of a revolution in a burst, but by careful thought. Introspection toward revolution is what I am hoping these works are. With pent breathe I am awaiting the destruction that is clarity and presence of mind. I worry. I wait. I believe these are simply the firming of knowledge while I await comprehensive creation. These are very good. These are more questions than answers. These may not be unlike the corner turned by Picasso when he made the big question that is called Le Demoiselles d'Avignon!
Many revolutions have come and gone, but it seems to me the overall effect is things are getting better. Thus goes my art. The painting "2017 No.3" is better than ever, and yesterday's drawings are a revolt, away from the scatter-effect of many of my earlier drawings toward concise forms within concise space. This does not mean I have found a home, but it does portend change. Change, in this case, feels good, very good!
I am the opposite of lighthearted. I am troubled. Nothing I am doing pleases me. Everything has problems without obvious solutions. I know I am in the midst of a revolution, an upheaval. This is not comforting. Change is transpiring; change which is not fully controlled. I am riding a bull, hoping to hang on long enough for it to calm down and be manageable.
Should I abandon the painting "2016 No.17"? Or, should I strike at it, forcing it to be more representative of what I know and feel? I think I will strike. That's what revolutionaries do!
Yesterday's drawing is more clearly authentically mine. It does not carry with it the lethargy of acceptance I see in the painting.
There are things about an advanced Van Gogh painting, or drawing, I really like. The representational quality is good, but it is the abstracted visual play which engages me most. While making yesterday's drawings I was occasionally reminded of Vincent Van Gogh's use of line and stroke. As Vincent marked his drawings, and his painting, he thought rhythmically, always cognizant of the overall music within forms and the surfaces of everything, from the three-dimensional quality of the forms themselves to the two-dimensional marks on the surface of the paper or canvas. These drawing's echo Vincent's quality of mark. They make me realize that I am very engaged by the abstraction in his best works. I am constantly involved in similar qualities, but I will not go so far as to say I emulate Vincent Van Gogh's mannerisms.
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