I made two drawings. I prepared a large canvas (50 X 60 inches). I think I'm ready, but you never know, and it never feels like you get there anyway. Making art is like being the proverbial mathematical arrow; when shot at a wall, you can prove it never hits the wall by calculating its trajectory in terms of the arrow cutting down the space between it and the wall by halves. The arrow moves closer and closer, reduces its remaining distance to the wall by half, over and over. Being half-way there, calculation by calculation, means it never gets there. That is exactly the way it feels to make art.
I believe yesterday's drawing #1 (above) is better than #2 (below). Both explore ideas I question and constantly research. The first examines large robust forms, and the second, surface textures. Marrying the two together in emotionally generated compositions is my problem to solve. This type of painting is demonstrated in the best of Picasso's late work (below my drawings from yesterday see two images of Late Picasso paintings, probably from the 1960's). Like me, Picasso went back and forth from loose, more textural work, to work dominated by form making. The conflict never dies.
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