Wednesday, October 7, 2009
My work with improvisation, creating in the present moment of the decision making process, not knowing what the final image will be. I like to experiment and to surprise myself. The activity overtakes the choice. It leaves a visual mapping of an action in time. The art may reflect a kinetic movement such as the shadows moving across the paper. It may describe an action such as reclining or rolling body parts as something visually mapped. I work with color sometimes describing an emotional sensation that may be regarded as romantic painting. I play with the metaphors of landscapes. Illustrating a landscape or tracing a portion of the earth, sometimes the body. I like the visual ideas of line and shape in their normal proportion combined with the action of the mark making, reactive and adaptive. My art is a visual action or improvisation describing a moment of movement using visual vocabulary.
Sunday, October 4, 2009
I believed that Artist’s are the best teachers of art because they have the intuition to sense what the other person is trying to express and can be an active guide. Painting is rich; the real purpose of painting is to give pleasure. Regarding my art, radiance is my motif. My approach tends to be from experiments, I work within a structure and see what other possibilities there can be; I look at it as solving problems and working on the visual experience. I listen, learn, and love. The outcomes are magical.
Thursday, October 1, 2009
My style of painting is analytical, I am intrigued with investigation, the essence is to bring my awareness to the moment of seeing. The whole process occurs in time. Responding, all the while seeing from the perspective of the process: questioning, answering, and reasoning. I challenge myself keep a pace with time, to realize the moment. A wonderful time is stillness and quite, solitude of the co evolution of existence. Quite moments can become very loud. Listening and the endgame pose learning quirks that I describe as starts and stops. Reservation of information compared to the extremity of time. In this suite of paintings, I simplified and exaggerated. The images pull from opposite angles; a tension develops that engulfs the energy.
Tuesday, September 29, 2009
Connecting the beauty of nature with the beauty of art involves the capturing of the essence of meaning and beauty. Moreover, Art exposure and experience guides the individual to a pleasant aesthetic moment, a sense of wonder. I am interested in bringing the aliveness of life into the painting. The body tracings were live. The marks changed the meaning. The drawings became abstract. They held a fascination to me. The adventure was on. I play with the reasoning for doing a set of pieces. The dialogue opens, mostly the activity to see what occurs. The seeing of the action occurs cohesively with the doing. A harmony or flow with the work or perhaps a sense of wonder describes the experience. However, a force of nature creates an intriguing piece of art, I see a wholeness enter into the picture. Art instructs, inspires, and makes the invisible visible.
Sunday, August 23, 2009
The work is not minimal. The spiritual is in Richard Tuttle’s work. His work represents flawless perfection. He states that art is truly an adventure. A new meditative state, the relationship between light and art is very simple. The artist is compelled to make art. From looking at the Abstract Expressionist, Tuttle explored the idea of presenting the expanding universe onto a large canvas by working small. The work is a modesty of means. Tuttle created very small pieces that were modest, impermanent, but placed with precision. Tuttle describes it as “being in sync (or in harmony) with art, free of myself. I have very little to do with it.” The art must intrigue the viewer. Tuttle invented his own language. Some refer to Tuttle's idea of nothingness. Blurring the boundaries of painting and sculpture and all the sectioning between disciplines that occurred in the late 1960. The power of nature, meditating and contemplating, light and shadow, the materials have a voice. There is a qualifying rightness to the experience. The simple response to his work is the right one.