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Finished Artist At Work. Has the right amount of definiteness and layered metaphor, a moment and timeless.
Celebration (12/5/2012) continues:
Put up some studies, a finished work, and a beginning of accidents in the studio as idea seeds. The pieces and studies I've completed in the past several months seem to be telling me that a new direction is...what...evolving, or suddenly emerging? It's a good time, a time of possibilities.
￼ Study Split-Off ￼ Study--Conversations
Study--Present ￼ Study--Passing Moments
1/16/2013 ￼ Finished Now Things of Mystery. Inspiration came from something in an old sketchbook I was scanning, a mysterious 2-D/3-D, hard/soft lined, subtle complementary-colored THING. The other objects suggested themselves to me, not quite sure why, but human eons, the painter trying to climb to a better view, muons, and mystery entered in.
2/1/2013 Finished Celebration, acrylic and chalk on canvas, 36 x 36 in. The piece has gone through one big development and several refinements (12/5/2012 and 12/31/2012). Simplified the study (12/31/2012), added iridescent pages to the book, and left a bit of the original grid, letting the studio corner fade into it.
2/4/2013 Finished Through a Glass Darkly, archival computer print.
2/5/2013 ￼Finished Study 2013-02-15. After purposely making other studies on top of a big piece of good paper, to capture accidents and stuff spilling over edges, I went at it to see how to make sense of the senseless. Painted out a number of areas, then darkened the ground around suggested areas.
2/21/2013 ￼Finished There Are No Real Chapters. The triptych division is apparent but not decisive, separation (chapters) of most things is the same. Order tussles with chaos. Light is dynamic with darkness. A bird flies, almost unnoticed, like Brueghel's Icarus falling. Phases move, like the phases of the moon.
2/23/2013 ￼ Finished Non-congruent Congruencies. Started with a photo I took of the frozen birdbath, a cycle of frozen/warm sun, life of water/dead leaves, circle so perfect/chaotic ice fractures. The figure is from the painting Man Walking, 1971, while the background is Continent, 1972, turned sideways. Both the figure and the painting were worked over, the figure especially, to get some warm light on him.
3/1/2013 ￼Thought of conceptual piece Dirt Falls Time.
Three-sided box, with plexi partly up the viewer's side. Dirt/sand (experiment with mixture that falls gradually) installed at higher than angle of repose. Over time falls and covers up part of the post. Did this after reading about some deep piece at the Renaissance Society which I thought frivolous. Thinking I could do better, came up with this. Change. Revealing/concealing. Earth moving. Time acting. These things seem more of the human condition than the clever, ideological, but empty stuff that often is accepted.
3/28/2013 ￼ Finished DrawnTogether, acrylic, drawing, and collage on canvas, 36 x 48 in. Started as a yellow flood because I wanted to expand the bright corner of There Are No Real Chapters (2/21/2013). Accidents, actually rectangular "orderings" intruded from three sides, but looked wrong. Added another glazing or two, removing two of the orderings, replacing one with an agglomeration of paint blobs (maybe contained) with a border. The other replacement came from a pile of ideas on my drawing table, this one with a cut out, originally of a shot of the Andes from orbit, then a shot of the whole thing as originally pasted on DrawnTogether, modified to show the canvas underneath and to emphasize the drawing of the rock, re-printed, then re-collaged. The same modified pic is appearing in a computer piece I am working on.
3/31/2013 ￼ Finished See There, archival computer print,12 x 16 in. Inspired by a study of a part of Drawn Together (3/28/2013), melding it with the oil painting Artist's Red. All three of these encounter the clash between Classical and Romantic, Apollonian and Dionysian.
5/14/2013 ￼ Finished Knowledge, acrylic, pencil, pastel on canvas, 36 x 48 in. Started with random yellowish strokes, carrying on the yellow in Drawn Together (3/28). Countering those many horizontal strokes was an inspiration to create a more fluid randomness with drips down the canvas, which I made concentrate in the middle. I made a blue rectangle as a partial "capture" of reality and light rectangle of abstract colors as another manifestation of some reality, and went searching for the linchpin. After looking at a lot of my drawings, combining the upward-gazing figure with birds on another plane made sense in the necessary non-sensible way. The birds came easily, the firge went through quite a few revisions. Finally, to add to the statement of the piece's many layers, I shot that figure/birds part of the piece, worked it a bit on the computer, printed it archivally, and pasted it on.
5/22/2013 Working on layers-for ￼ It is a combination of five past pieces: paintings, prints,and photos. I feel a combination of menace and understanding.
5/27/2013 Working on Ancient Now ￼Popped as an inspiration when I saw a Gregg Hertzlieb photo. In includes the animal and the civilized, dead warriors' graveyard and a first love, leaves and grass. I think it is too crowded and designed, and am looking for a way to empty it a bit, to bring contemplation.
6/5/2013 ￼ Finished Ancient Now ,archival computer print 11.5 x 15.5 in.
Worked on this for a week.
Big change between state one ￼ and state two , moving it from episodic to contemplative. After that, it was continual adjustments of subtlety, blending some areas, intensifying others, adding slight transparencies to others. The transitions from the ancient and deep-rooted to the experience of the now and its shadows are much better now.
6/23/2013 Finished layers for, computer print. (Prior stage at 5/22/2013.)
The figure is the small sculpture Man Revealing Self, worked over on the computer. The spirit of the person in the midst of the time he's in, somewhat recognizing the complexities around him, looking and ready to move.
6/26/2013 Finished Marvels, Acrylic and ink on canvas, 20 x 30 in.
Started with random flowing strokes, with the idea of preserving the rectangle hint in purple on the left and a bare upper right corner. What we think we know and what yet remains. Kinda ugly. Washed the color from the second last painting. Better. Washed again, better still. Meanwhile, recognized some interesting digital noise in a slide of "Man Revealing Self," and got the idea to push it a bit. As I worked on that, it became a solution to the unfinished feeling I had about the painting. Some scaling and moving, and, lining it up with a "horizon" in the upper right, I had a painting. The guy is aggressively stepping out into phenomena, and is himself a wonder. Hence, "Marvels."
6/29/2013 Bison print, ink on canvas, 7 x 11 in. A gift to Nina Diamond
Took digital image of Bison (2/2/1963), and worked it up for a housewarming present for Nina Diamond, who has a bison herd with her partner, Jay. Emphasized the downcast bison moving from the light to an unknown, with the implication that their work is something that is helping the bison.
7/3/2013 Watching, computer archival print, size varies
Joining tech with analog and emotion. The lake color I sought to portray in a painting a while back I saw again, and whipped out my iPhone camera. Other "corrections" became the theme of the piece.
8/10/2013 Again, computer archival print, varies
I wanted a boy on a bike looking off, totally unaware of "deep" existential concerns.
9/5/2013 Passing On,archival computer print, 12 x 15 in. I sketched Stravinsky conducting in the mid-1960s. Now I'm him, in the lower left. Portals, gaps, and flow, perhaps tinged with the importance of all that related to the empty bowl that is now.
9/10/2013 Reworked (see 5/14/2013) Knowledge, acrylic, pencil, pastel on canvas, 36 x 48 in. The figure had been bothering me for months. As a computer "fix" of the original painted figure, it just would not work. So, I painted it on top of the last collaged repro.
9/11/2013 Finished Projections from email to Gene Suchma: "I don't usually have any idea of where the piece will end up. I start with a drawing, painting, photo of something that intrigues me. I then look for other things that create some connect with the first thing. I go to work resizing, overpainting, adding, percolating, drawing, doing stuff until the Form and Concept feel together and 'right.'"
9/15/2013 The Current archival computer print
9/17/2013 Used elements from The Current (above) to start a painting. Window smaller, rocks gone, branch higher and larger, figure from a pastel I'm exploring.
9/23/2013 Mid-stream, computer Used some elements from The Current (9/15/2013) and the figure from the painting I've started. Muse, real events, empty place in the grid of perception and the time line of the planet.
9/29/2013 Finished Theme. The vertical flow rather than horizontal entices me. Started out with one of the pages from my "Narratives" drawing book/series. Changed the Muse, the animal from panther to my own tiger, my drawing of crowded art desk to self portrait on easel from previous painting. Kept the boy throwing and the broken letters, with modifications.
10/10/2013 Finished Vague. I was going to paint in the branch middle left, and perhaps enhance the shadow and the figure, but felt like leaving it vague.
Also finished Torn. Started with torn pastel sheet.
Finished Tear. Unique field, which may lead to others. Only one tear, though. Like feeling bad for oneself, a tear is fine, if it doesn't last several days.
Began with the iridescence I emphasized from my photo of a window. Added the jail cell and the sunlit hillside as expressions of life as it is. Then the butterfly wing I had collected and put in a plastic bag. Not yet right. I idea is flow, and I was feeling positive. Then the photo of the young girl I had taken in Harisburg thirty-some years ago came to mind. She's the key, the one about to start out.
Course, computer Started off with a shot I had taken through a fogged window. As I added the watercolor of the bottle and pomegranate and the woman looking off (made the drawing more "classical" by moving the colors towards sepia) I played with the edges flow I had in Tear 10/13/2013, and worked the background into more of a landscape feel. That landscape may be out of sync with the piece, even though I modified it at the top to pick up the texture of the feather at the far left.
Outside, computer Started by turning the sky sideways, so the idea of flow dominated. Contrasted the cats I'd drawn with the geometry/mystery photo in upper left. Doorways, illuminating lights, openings followed.
11/3/2013 Horizons Relative, computer Started off with some screen garbage I'd captured, and then worked on for the right colors and edges. After that all kinds of images, drawings, re-workings happened. Fairly complex content and intentions.
As An Owl Among the Ruins 2013, computer Sparked by someone's comment about THEIR being in a bad spot, I felt like reprising my old watercolor, AS AN OWL AMONG THE RUINS, 1964.
The "ruins" this time were less literal, being a composite of drips from a painting and a photo of some color smears on my painting smock. I also worried more about the placement of the owl, which needed to be desolate, but still a part of the composition.
Understanding, computer (iPad) Done as I experimented with Art Studio on the iPad.
Table and Woman on Phone, computer (iPad) Another iPad foray, same theme of mine: chaos/difference and ordering.
Information, computer Started with ripping open a hard disk on a computer I was trashing. The thing looked so interesting—information, hidden, potentially dangerous, often creative, perhaps good. I shot the disk and controller and started pulling other things from my drawings and pics that fit. Worked at getting the "old" look of sepia ink in a few places. A door is within the controller. The arrows movement is radiant.