My quest is to make you love light as much as I do. My deep affection for this thing, which allows our primary sense to indulge in the glory that is existence, is never going away. I am enamored beyond repair. Some enjoy sound so much they devote their lives to music. I have surrendered to my devotion to light. Some may think this silly coming from a painter. But if you compare a painting by Turner to one by Mondrian, or one by Monet to one by Pollack, you can understand my gist (see examples at bottom of today's post). It is interesting to me that both Mondrian and Pollack find a bit of light radiating from their paintings by simply using black as contrast to the white of their canvases. This kind of contrast occurs in my Monet and Turner examples, and also in my painting. The difference is Monet, Turner, and I want to grasp light, savoring it like a fine wine. Pollack and Mondrian? Not so much!
As rigorous as I am in the studio it sometimes does not translate to my reproductions. Today's reproduction of the painting "2017 No.2" fails to have the light-filled and sensual qualities it actually possesses. State 3 will occur today, so tomorrow I will give another try to adequately reproduce this painting.
I very much like yesterday's drawings. They are not as clogged with information as some of my drawings, thus more accessibly emotive. This seems to be a trend. It is happening in my painting as well.
I know, my art looks nothing like Egon Schiele's. I have no ambition to make art that looks like Egon Schiele's. However, every once in a while, there are elements within my drawings that remind me of Schiele's work. It is in the touch and feel of the surface. Schiele can leave the paper, outside of his form, blank, without touching it. His forms (as in the drawing shown below) are touched everywhere. He relentlessly, caressingly, feels the form. This gives delight to viewer. Such surface enhancement makes a viewers feel as if he were in the room when the drawing was made. The viewer feels like he sees the same thing Schiele saw. My work is not so real. My work does not reflect an actual person in a room. This is my separation from Schiele.
Drawings: 03·31·2015 and 04·01·2015, pencil on paper, 16X20 inches each
A lot has happened over the last two days. That is, a lot happened in my life, not in my art. In my art, I made two drawings. In my life, I got rid of a skunk that nested beneath my woodshed (which is attached to my studio) and I dealt with design and plumbing issues in my master bathroom (I asked for the simplest of all possible solutions, but it looks like the 3-way diverter has to be changed to a 6-way diverter ― go figure!). In my art, the simplest of all possible solutions did occur. I believe, when distracted by life events, I hunker down with the comfort of my basic instincts. These two drawing exhibit this. They are about sensuousness of touch, feel, form, and light, i.e. the simplest of known things.
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