Clarity can be good or bad; it is always informative. Yesterday's drawing is an example. I find this drawing neither good or bad, but amazingly informative. In its making I discovered I do enjoy touching every portion of the paper. I do enjoy making every mark speak as surface, forcing every mark to call out its position in space. Each mark, therefore, represents a position in the 3D artifice I am creating.
Preparing just one painting for exhibition takes an enormous amount of time; this distracts from my preferred endeavors. Of course I should promote my work! Yesterday I had time to finish a drawing; so nice! I completed a drawing begun on August 16. Today, however, I must begin to prepare the PechaKucha requested by Silvermine Galley for their 70th Annual A-ONE Exhibition, opening September 5. "Pecha Kucha" is Japanese for "chit chat". I am tasked with making a 20 slide presentation of my life and work, also with a look into my studio workspace. A PechaKucha runs quickly: 20 images, each with a 20 second VoiceOver. I will post a link here when the PechaKucha is complete.
The drawing I show today is research into my interest in movement. I wish to engage the viewer in multiple ways, but here I concentrate on relentless compositional dynamism. This internal image energy is being added to my fascinations with form, light, and three-dimensional space.
There is an investigative vitality to these drawings. They pop in your face; they sing a language filled with contrast and scale, in/out, back/forth, dark/light, big/little, push/pull. This is my vision becoming me; theses are my intellect/emotions becoming visually real. These exhibit art-making as similar to mediation; practice makes me better at R.A.I.N. (Recognize Emotions, Accept, Investigate, Non-Identify/Detach).
I wish to control the third dimension that produces depth within my drawings and paintings. I picked up a book of Vincent Van Gogh drawings. I saw the drawing I reproduced, below. I responded. Trusting information from one of my forebears is useful.
As wonderful as this drawing is, it is NOT all I want. I have been looking; I have been staring at my past drawings. I look, then pick out the ones I find most appealing. The more insistent the 3D spatial introduction the more I feel their emotive power. Today I will make an effort to draw from this need of mine. The 3D space you see in yesterday's drawing is minimal, it is not as robustly 3D-animated as I wish. I want the viewer to be pulled in; I want the viewer to drop into a place filled with interesting and emotive forms. The journey I am on to satisfy this need of mine is endless, but it is my journey.
Never! Always! The edge of description is life as animated joy. Henri Matisse did it before anyone else. Matisse's Joy of Life is a grand display of compositional stress and color invention; it depicts the joy in creation. Joy of Life is reality itself. Joy of Life is based upon that which we see, i.e., the reality we know; the flat plane of the canvas is respected while three-dimensional-perspective is forced and enforced. Around and around we go, in and out we see. It is more than a test of compositional possibilities; it plays with simple contrast too, light to dark. Joy of Life is one of Henri Matisse's most important contributions to painting and the visual arts.
I set about yesterday's drawing with Joy of Life in mind. My drawing achieves a high level of compositional energy, and rigor; in two-dimensions and in three-dimensions. Also, it runs with wild circles around its solid, anchored center.
The only way I am going to achieve extreme quality is by delivering an extreme number of renditions.
I cannot satisfy myself. There is no way I can be content with any one image. Everything I make calls another question. Better, yes; final, no. May I live a long life! This said, I do like the work I produced yesterday. I am finding new ways to animate the canvas and paper. 2017 No.9 is calling for artifice of space, artifice of light, artifice of shadow. It is in light and shadow that this painting most interests me. The object in the foreground is a form requiring low contrast because I perceive it in shadow. The background is fully lit, begging for more light in a high value light source.
Art-making does not come easy, or does it? My studio activity goes well. But I live a life of worry. Am I making sense? Within certain moments of time I feel great anxiety. Like right now. Does anything I make have importance? The search for significance is simply a search, a process. It is the process that makes life worth living, as says Socrates: "An unexamined life is not worth living." For the first time I understand this. Socrates is speaking of life as process because life without process is devoid of meaning, like a blade of grass, which doesn't care if it lives or not. It simply is. I want more than the simplest of lives. This is being human. I do not want life to be the same as foraging for food because I am hungry. Yes, I am hungry... for meaning. My making art is me foraging for self-meaning, for images that ring true, that communicate with myself and with all who view it. Thus came yesterday. It seems to me that a form that represents me, it having a place within the image I am creating, can substantiate an image. A form, substantiated by its presence, is a force compelling me to deal with the artifice of three-dimensional space as if it reflects my place in existence.
The wounds due to being human keep happening. They do not stop happening. To be human is to be at the mercy of entropy: Impossible to win. This is the Third Law of Thermodynamics. It conquers everything. Art is my refuge. No matter the cause of worldly uncertainty, I keep making art. Art-making is the consistency within the inconsistency of my living and my social behavior. Without art-making I would be sludge. Yesterday's drawings continue my efforts to see forms more clearly. Perhaps they are too sculptural for painting and drawing. This is a major concern with images on two dimensional surfaces. One must not go too far toward the artifice of the third-dimension or the reality of the two-dimensional surface is uncomfortably disrupted. This is me questioning. My current work is pervaded by research. The specular spot is useful in portraying the third-dimension, as seen in yesterday's drawings. INSIGHT: My art is about disruption. I wish to disrupt the ongoing decay of being human. I fight the dictum, The Third Law, that entropy in me is increasing. My little effort is me disrupting the two-dimensional surface with the artifice of the third-dimension. I am fighting for solidity in a liquid state.
Yesterday's drawing is centered by a black ovoid with a specular spot. My specular spotting goes back to my earliest three-dimensional abstractions. A friend of mine noted the painting "2017 No.3" has specular highlights, he thinking this unusual for my recent work. Not sure about that, but his comment did give me pause. I love specular highlights. I don't use them enough. I enjoy what a specular highlight can do for the third dimension of a form. As you know, the artifice of three-dimensions on two-dimensional surfaces is very important to me. Yesterday's drawing is a reaction to my friend's comment about the specular highlights in "2017 No.3," thank you very much! Definitely more specular highlights are coming!
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