Last night I had a strangely vivid dream. I was in a complex, multi-layered factory, but I was not one of the workers. I was free to play among the gadgets, pipes, wires, and large machines. Up and down ladders I went, into and out of seats which sat in front of control panels. I wandered throughout a world painted in grey tones. I was just having fun, exploring this elaborate, monstrously original, world. I felt comfortable there, in the dream, in the multiplex. This dream was a boost to my morale as I move toward more complex paintings.
Yesterday was Friday, and Fridays have become a day to watch Japanese Films. I did get into the studio, but only accomplished one drawing. This drawing was important in approach, as I felt my way through it, abandoning myself to its needs. The forms are more felt than embellished. As example, take a look at the hair of each figure; barely scratched in yet effortlessly real. So the accomplishment of yesterday was a dream, corroborating my direction, and a drawing, telling me I can feel my way there rather than intellectually force my way there. In this latter idea, Willem de Kooning is a mentor. In my continued homage to de Kooning I again show a painting of his, Fire Island, 1946.
The grey aura of my dream was analogous to the world exhibited in the Japanese films I have seen in the last two weeks. Both of the films were in black and white. Most important of these was "Woman in the Dunes." This film takes place in an incredibly dream-like landscape. I feel great kinship for its expression through allegory and mythology. It is similar to the ambition of my art.
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