I am surprised how difficult it is to become comfortable once again, but maybe I was never comfortable. One's movement through life is nearly impossible to track well, so overblown are we with with the emotions of the moment. Just as elation, from perceived success, clouds reality, so does despair, from perceived failure. In the prior sentence I am careful to use the word "perceived" because perception is not a simple thing. I wish it were. It would make living and making art easier. As it is, I am beginning to accept intuition as far more intelligent than logic. I am not happy with yesterday's drawing. It took me several hours, and I felt comfortable only at the beginning. I ground through it, looking for truth. The form of the woman did not come easy (you can see that in the many adjustments and pentimenti). The little success in this drawing is me allowing my intuition to dominate. I felt my way through the woman's form without conscious thought, accepting deeper knowledge. The bewildering limitations of this drawing I attribute to the rust I allowed to form while away from art making during my recent trip. However, solving this drawing by relying on deep, intuitive knowledge, is my success. I believe practicing my acceptance of non-intellectual, and non-categoragorical, knowledge will carry me to the knowing I wish to express. This reminds me of a Henry Moore sculpture I saw in the foyer of the Nasher Museum of Art on the Duke University campus in Durham, North Carolina. I will write about this, and show images, of Henry Moore's work, after I show you my drawing from yesterday.
My earlier discussion in today's post brings me naturally to Henry Moore. Kenneth Clark, the art historian, tells a story in his autobiography about Pablo Picasso's reaction to the work of Henry Moore. Clark showed Picasso a book of reproductions of Moore's work. Clark reports his observation of Picasso's confusion and uncertainty as Picasso viewed Moore's art. Picasso seemed unable to understand how Moore created his complex forms, whose compositions were simultaneously active and balanced. Picasso was a naturally gifted draftsman, Moore was not. Moore struggled when placing forms on a flat plane. I show you two of Moore's best works. His struggle with drawing, with natural forms and anatomy, drove Moore to produce works where intuitive discovery of his internalized visual perceptions took precedence. This is what I'm talking about. This is my struggle too.
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