I have been back in the studio for about a week. It has been a week of me feeling discomfort—nothing comes easily, and I doubt the quality of my work. Before my trip to North Carolina I walked into the studio and made work with the belief the stuff I was producing reflected my expressive needs. Introspectively I doubt my feelings of comfort or discomfort reflect reality, now or before the trip. I am tuning into my inability to be objective. I am trying to see reality, but making art is a mixture of everything we our, from our needs and wants, to our emotions and intellect, to our knowledge and the desire to learn and know more. The only way to allow this conundrum to unravel, and for my question of "what is real?" to be answered, is for me to go ahead and do what I need to do without question. I will paint today. The first drawing I show in today's post is a study for the painting I will begin today. Today I show study #2 for the new 50 X 60 inch painting—see the 04/07/2011 post for study #1. The other two drawings I made yesterday are me struggling to find comfort in what I am doing.
Before I leave you I wish to show one additional Henry Moore sculpture. Moore's approach to art making fascinates me, with its emphasis on invented form and energetic, yet stable, compositions. However, when depicting two or more people, one of Moore's figure's never engages another with a glance or look. Moore's entities are regally distant from one another, even when he depicts a family group. Yes, family members touch, but they do not see one another. This is not my way. To illustrate my point I reproduce two of Moore's sculptures: the first a King and Queen, the second a family group.
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