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Finished Does the Cosmos Care?, archival computer print. Several different things appeared here, although the same general ideas remain. Started with paint splatters on a floor, a real fight to get it "right" in terms of relationship to other things. An accident in filtering caused it to go dark, and there it was! The darker, literally and figuratively, figures were harder to see, the contemplator stood out, and the swimmer in the sea of cosmos was just right.


Working on Inquiry. For several months, have been working with the chaos/flow field I used in Heraclitus Applied (10/13/2017). Although theHeraclitian/Epicurian idea of randomness/flow and accidental joinings was there, I decided to get a little "dirtier," less idealistic. As I looked at the piece, it seemed more bruised than real, so I've cleaned it up a bit, still leaving some of the easiness we experience in life:


Finished Flow Triptych, ed. 50. Started with seeing the Jurgis Daugvila saddened angel on the wall. Got the idea right away for a triptych, with the flow untouched in the center, the sides containing two possibilities, quantum-like. Took a while, searching through my resources before I found the great counter: a dancing girl. Had to work to get just a bit of the flow in the figures. This may be just a one-off, since I am working on another already that is back to the "Timeline" idea, Nature and Ideas.



Later, looking on the Nature and Ideas study, I decided it would make a good computer print, so now we have Other Flows, archival computer print.




Sketched in Nature and Ideas a few days ago. Today got the idea to first paint a gray, then randomly sgraffito back into from the "flow"paint. In the mixing, went into a blue-green gray. The idea is that there is even more depth behind the depth.

On vacation in Mexico, I saw a wall that was being overgrown. Seemed a good metaphor for our intellectual boundary-making meeting nature's surge. Working on a computer piece.

Not much progress on Nature and Ideas, due to weather, misc. events, and our Mexican vacation. Like the way the ground has turned out, added a blue intrusion instead of light. However the light intrusion has returned in the computer pieces. Reintrospection is finished. The idea is okay, bounding around between perception and understanding, but the composition is fun. Shapes repeat, sometimes sneakily. Zigs and zags do their unifying and linking. I'm looking in, like "What the HELL!"



Finished Apart, pencil, ink on paper collage, on paper, 8.5 x 11 in.




Arc of Life is a 5 x 5 in. version of Arc of my Life, done as a donation to The Depot Museum and Gallery for their fundraiser exhibit, "5 x 5."




Finished Considerations, pencil, ink on paper collage, on paper, 8.5 x 11 in





Finished Towards, archival computer print (ed. 50), 16 x 12 in. or x 32 x 24 in. Also worked out a new way creating cosmic chaos/randomness: one wash, dried, another thin on top, brush handle random lines. Whether something can be worked out or not, not sure.




Did From Then To Now, pencil and collage on paper, 8.5 x 11 in. Looking to start from scratch, went to my folder of resources. Liked the running youth, thought the dream-like image a good metaphor for the ideal, eventually came up with the idea of tearing up a sheet of paper with an edge as a real. To make sure the paper was seen, I touched the edges with a pencil.



Walls or Not (ed.50), archival computer print, 12 x 16 in. or 24 x 32 in. Inspired by a wall in Puerto Vallarta that was slowly succumbing to nature, expanded to include the old "thinker coming up with a concept," a part of an old painting on the them redone to make the conceptualization more prominent, with an underlying flow from a friend's photo of a tea stain, and finished with an ending that cannot be known.




Finished At the End of the Line, pastel and collage on paper, 9 x 12 in. New metaphors mainly, for the chaos flow, the reflection, the ideal, the real, the beginning, the end.





Finished Realizations, archival computer print (ed. 50), 12 x 16 in. or 24 x 32 in. More metaphoric and field explorations. The "zzzzzzzz" of energy flow in the ground, material and spiritual/material explorations, along with the solitary position thinking for yourself puts you in.




Finished Conclusion of the Moment, archival computer print (ed. 50) 12 x 16 in. or 24 x 32 in. Existence just moves on, I reach so few.






Finished a study, An Insight, archival ink and paper, 10 x 8 in.The beginning is now a young boy riding off. The "real is an empty cake plate and a flower vase. The resolution is a cloud or rock, realistically done, and a circle (conceptual abstraction). The middle, action zone, is a abstraction of a real building interior, Dallas Ft. Worth airport.

I like it a bit, but am still leery, not will to fully commit to this new path across an old field. THAT, I like a lot. The maelstrom of creativity.




Made two pieces as explorations:

Exit Unknowable, collage and pencil on paper, 11 x 8.5





Towards Nothingness—A Journey, collage and pencil on paper, 11 x 8.5






Starting with nothing in mind, a pencil, and my folder of resources, I pulled something interesting, than began to pick other things and draw, all objects in dialog.

Finished Ergo, archival computer print (ed. 50), 16 x 16 or 32 x 32 in. To stimulate new thoughts and visuals and to sieve what was really important, I picked an old piece and threw it into the computer to see what developed. The old piece was Mondrian Anew:




I enjoyed putting in the moiré, making of cosmos, using trees for nature, my own cat painting for primal nature, and the nude with the cosmos as part of "her."

Perceptions and Emotions, archival computer print (ed. 50), 12 x 16 in. or 24 x 32 in. Another revitalization of the Timeline series. This explores light as the metaphor/activator of experiences/ideas.






Clouds and Things, charcoal and collage (print segment), 12 x 9 in. Saw a few clouds in the sky on the way to the studio today, and decided to start there, not knowing what else would fit. Found something in my resources folder, more a gut feeling than an analytical one.




Finished Search and Resolution,colored pencil and collage, 12 x 9 in. Fishing around in resource folder again, knowing I'd do something with the grid. This one came easily.





The Hidden Revealed, pencil and pastel on paper, 9 x 12 in.Driving to the studio, I saw a van pull behind a building, and it struck me as a good starting place. A subtle doorway, with a crack to the outside world come to mind next, then, thinking about a resolution, the idea of nature being more or less eternal, and a final enlightenment in my life popped up, as the idea of the landscape, and another popup idea, the sun illuminating.


See Through, archival computer print (ed. 50), 12 x 16 in. or 24 x 32 in. Dove into my resources folder, knowing I was looking for seeing through a forest of tress (having just looked out my window at dusk). From 20 or so, picked the center image, then decided to go with another piece I had reated, with trees in front of a flow visual field. after that, and some adjustment, more things seemed appropriate, based on the general idea of "Timeline."


From Leaf To Leaving, archival computer print (ed. 50), 12 x 16 in. or 24 x 32 in. Using new elements to express feelings/ideas of chaos/randomness, ordering of experiences, passage of time and thoughts.




Dichotomies-Art, Idea, Reality, pencil, ink, collage, tape on paper, 9 x 12 in.
A free flowing start, getting the idea to outline the artist (photographer/person) partly over a phenomenon/idea. Meanwhile, there is a real thing, masking tape, in the field




Finished Goodness Gracious, archival computer print (ed. 50), 12 x 16 in. or 24 x 32 in. Another Timeline work. Different starting and ending representations, as well as Art trying to get at reality and the sometimes of old sadness.



Am destroying "Homage to Leon Bishop" because it has ceased to be anything but an exercise in composition. Originally, I wanted to see if new symbols for my Timeline series would be interesting. (The original Bishop work is on the left, the study I made in the middle, its state when I pitched it, on the right.) Red for birth, nature branching into the beginning and end of life, the greening of light/idea, and the final break from actively being in the flow, of passing into oblivion. Much work to keep the paper from bucking from its support. A few times, mostly of gessoed "erasures" and cutting the right into the "departure." But, "blah" and forced lately.

Finished A Flowering, archival computer print (ed. 50), 12 x 16 in. or 24 x 32 in. This piece was inspired a while back, while driving to the studio, somewhat flat. I thought, "What am I seeing, that could go against that?" Flowers in a yard passed by. I digitized a flower/box/rainbow piece from 1972. Picked a topped obelisk with a sun on it for the bad feeling. Used a drawing of an easel in a studio for the "art trying to get to reality" aspect. The ancient stone face sculptures remind me of basic human nature. The face is a sculpture in clay of mine, which I digitized. Finally, the light and shadows of light are our understandings of the flow and flux of the cosmos. It took quite a while to get things in a communicating and good composition, the zig-zag of life as well as the "S" or Renaissance harmony. Color and transparencies took a lot of time to get the right harmony and contrast.