In yesterday's post I queried myself. I tried looking through the lens of my past and sync it with my present impulses. I reviewed my past interest in creating a personal mythology and called it an "aside," influenced by my mentor Philip Guston. Looking at my recent work, I concluded my most natural impulse is to touch paper, or canvas, with the simple intention of making form and a solid composition; i.e. my most basic urge drives me to stroke out every nuance of every form on a two--dimensional surfaces.
This bring me to yesterday's activity in the studio. I discovered my basic impulses rule. I have no great allegiance to any particular image. This is difficult to believe if you have read this blog for the last six months. Mostly I have explored couples interacting. My work is about human interaction. However, it does not have to contain two people, observing one another, to make this happen. Every painting is about human interaction, even the most abstract. The human viewer always interacts with the stuff put in front of him or her, on the canvas, be it paint strokes, color, and form. A work of art does not need to contain the human form, or objects taken from the "real" world, to force the viewer's engagement.
Yesterday I entered the studio seeking to follow the idea posed in yesterday's post: my primary need is to stroke a two-dimesional surface and create tangible form, as if I was inventing the form for the first time. This form includes the surface itself. The drawings I made felt very good in the making. I let go of preconceived notions of what objects, or beings, must appear in my art, beginning each drawing with the primary purpose of filling the paper with form, which would be given meaning by its reaction to what came before it. I built compositions, not mythology. Inadvertently a personal mythology was created, but, in reality, these drawings are as abstract as a still life, and the objects (in the process of being made) were no more important to me than apples.
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