I seem to be getting distracted. But don't get me wrong, hang in here with me. I am definitely in transition, away from habits of past and into a new manner of expression. I am not completely happy with the technique of the drawing made yesterday, but I do believe it is a move in this transition; I am nearing a break. This is not a total break from the past, but a regrouping of ideas. I am going to show you a painting by George Condo today. Why a George Condo? He does not paint like me, but he does have the same general interest in "imaginary people." The January 17, 2011 issue of The New Yorker magazine has a profile of George Condo entitled, "Portraits of Imaginary People." I do find a similarity in my work and Condo's is the intense interest in the figures, and not so much interest in the world they inhabit. Yes, the painting "Pond" has a landscape surrounding the figures, but it is the figures which are the force of this painting. "Pond" is unusual; most of my work deals so much with the figures and their faces that the background is developed only as much as necessary to emphasize the interaction of the people in my paintings. This is true of Condo's work as well. Before I tell you more about George Condo, please take a look at yesterday's drawing. Despite its imperfections, it is a movement toward the break I feel coming. The anatomy of the face is being warped in order to express. I am trying to find a way to make my figures and faces emote beyond what is capably done by photography and film. After looking at my drawing, skip down and see how George Condo has gone further, than I feel comfortable, in altering human physiognomy.
Now I'll show you a George Condo painting. Again, notice the lack of interest in background. Something I struggle with as well.
The "Profiles" article in the January 17, 2011 The New Yorker magazine tells us this about Condo:
"Condo's subjects come straight from his imagination, where the sleep of reason produces not only monsters (grotesque faces with three or four rows of ferocious-looking teeth, copulating couples who look straight at the viewer and scream angry imprecations) but also voluptuously realistic nude bodies and beautiful, faceless mannequins in period costumes. Condo's subject matter, which can be simultaneously hilarious and scarifying, puts a lot of people off, but many contemporary artists are in awe of his virtuoso paint handling. They also respect his material success, 'I've never had any trouble selling work,' he said recently."
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