The end of worry is impossible. Holidays may sweep one away from actual concerns, into distraction. That is not the end of worry! I do not want to stop worrying. I want to continue to make art, to question, to answer, to fail, to strive to succeed. My work is always now; my work is always in transition. My art is becoming more me. These drawings are exceptional in focus, extraordinary in questions asked, thrilling in answers given. Each drawing informs; there are better answers coming. These drawings are spirited and wonderful; they are also stepping stones to more and better.
There is a certain moment in the Oeuvre of every artist I admire, a moment of transition, out of messy questioning and into disciplined clarity. This is my moment!
In today's post, the contrast in style between the painting, and the drawing, is dramatic. As good as the drawing is, it looks and feels more like an exercise in an alternate reality than it feels authentically mine. I will place that drawing in my X-Files. So much so for the influence of Egon Schiele. I am moving on.
"2016 No. 1" is very close to done. Yes, I am ready to move on. Paintings, as well are drawings, are becoming more about research than about completely finished forms and compositions. This is instructive. I have often wondered why Picasso left so many partially finished works. Many of these unpolished works are highly regarded despite their looking incomplete. I enjoy them, as do others, because they are full of startling invention. With Picasso, the preponderance of unfinished work occurred most often when he was in transition, from one visually commanding idea to another. The painting "2016 No. 1" may share this transitionary questioning.
I show two examples of unfinished works by Pablo Picasso ("Hairdressing", 1906, and his most famous unfinished work, "Les Demoiselles d'Avignon", 1907). The time proximity of these two wonderful paintings visually exhibits one of the greatest years of transition in Picasso's oeuvre.
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