Where's the meat?
By meat, I mean the painting. Right now copious amounts of information are being gathered in my drawing, every time I draw. Yesterday's drawing shows this again. I have wondered if the distractions of the holidays, which restricted my studio time, was good or bad for my painting. Yes, it did delay the paint going on canvas, but I cannot discount the enormous amount of drawings I did as a source of strength and information. Drawing is the training for the more sustained concentration that is painting. The urge to paint is upon me. More important is the welling up of confidence that the recent spate of drawings has given me. The gathered knowledge, which is this feeling of strength required to enter a painting with optimism that nothing is too difficult to solve, also translates into the feeling that no subject can lack the requirements to animate my attention. This makes me think about Luc Tuymans. He bounces around with disparate choices of subject matter. Tuymans loves the human head, but also finds interesting compositions in many mundane objects of this world and makes nearly abstract works with these images. To illustrate this contrast I show two of Luc Tuymans' works. I can see this happening to me. The idea that every subject is expressively interesting is an outgrowth of the knowledge that drawing is expressive in itself when informed with its vast qualities, its ability to express by line, form, value, contrast, shape, and composition.
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