Why does my present work feel conservative to me? As the present painting, Untitled Diptych-04·15·2014, is nearing resolution, I can feel the next question I wish to tackle. When I review this painting in this format, reproduced here, this painting looks to me like mere preparation of things to come, places to go. I am deceiving myself. Every day, upon my first entrance into the studio, the grandness of this painting is sensorially powerful. Its size, its composition, its forms, its artifice of light and space, are engrossing and compelling. In the past, when I reached this stage of development, I moved on to the next painting. Not this time. I am wending my way through this painting, acquiring tremendous knowledge, knowledge I need to go forward to new works.
Yesterday's drawing is an experimentation with spatial play and composition. When I play this way a few discoveries intensify the process a long the way. And afterwards, I enjoy looking at the little discoveries. In this case I am writing about the man at the left, stretched out in extreme foreshortening. I particularly like his head and the way it twists off his torso, creating the triangle of space between it, the floor, and the wall. The form of the head itself is also expressively satisfying to me.
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