I am feeling much better about the painting 2017 No.12. So much so that I am just about to declare it finished and move on. This is difficult to do without allowing at least one day for intuitive differences of opinion. I think this is today.
I have been struggling recently with the creep of figuration. It is returning to my work. I struggle because I get conflicted because of my desire to animate compositions based upon the purity inherent in non-representational composition. The force of the principles of art carry a painting when no representation is present. When representation is present a secondary layer of viewer engagement occurs. Purity of form, color, composition, linear movement, and the artifice of light, begin to compete with an involvement that is reference to the real world of figures and representational forms. Yesterday I heard a short interview with Morton Feldman. Feldman was an American composer (1926-1987). He continues to be a major figure in contemporary classical music. Feldman was a pioneer of indeterminate music, a development associated with the experimental New York School of composers, which included John Cage, Christian Wolff, and Earle Brown. Feldman's works are characterized by notational innovations that he developed to create his characteristic sound: rhythms that seem to be free and floating; pitch shadings that seem softly unfocused; a generally quiet and slowly evolving music; recurring asymmetric patterns. His later works, after 1977, also begin to explore extremes of duration. Feldman's music is incredibly fascinating to me. This goes to my self-query in regard to purity in composition. Ultimately, I follow my intuition. I am not going to intellectually rule out figurative and representational if its creep into my art continues. Morton Feldman said he could not help himself, even though critics found his work difficult to comprehend. Mostly, critics found listening to Feldman's music an intellectual chore.
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