One more worry: Is my work too complicated, too subtle? Is it beyond the grasp of most viewers? I see visual connections across wide expanses of canvas and paper. I do not think I am deluding myself. Yesterday's drawing does work well. There is a solid core, there are rhythms and rhymes, there is movement and motion, there is value contrast, there are a large variety of forms, there is light, there is structural integrity. So, why is it not a hit? I believe it does hit well. Then why are viewers not begging that it be put in public venues? What are they not begging to see it up close and personal? Art that speaks truth should be seen. Perhaps Vincent Van Gogh wondered the same.
In yesterday's blog I quoted a New York Times article from March 22, 1992. The following paragraph, from the same article, is relevant to my worries of today:
"Cezanne's career might have been as grim as Van Gogh's -- and as short -- had he not been the son of a banker and, ultimately, his heir. As it is, his progress from clumsy Expressionism to a sublime fusion of the monumental and the ethereal has attracted scholars from Roger Fry to Meyer Schapiro and John Rewald." (from the New York Times article, ART; How Cezanne Evokes a Bach Fugue, published March 22, 1992)
The way I see it is this: Everything I did yesterday pursues an updraft. Going vertical! I could be persuading myself of this sense of movement, but if not, then why will I do what I shall do today? In the painting "2016 No.15" I will increase the up-movement. That upper-left, flat, plane-like object, will extend itself, most likely destroying the diagonal shadow-effect below it. The result will be its playing better with the polka-dotted, transitionary form that transforms itself behind the central table-like structure. How will this happen? I am unsure. It will be found in the doing.
One more thing before I go. I feel that I am... Welcome back!
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