Showing posts with label original paintings. Show all posts
Showing posts with label original paintings. Show all posts

September 26, 2017

WHY DO WE FOLLOW RULES?

I make up a lot of rules for myself. Rules that may or may not actually exist, that I may or may not have invented all for myself. And I follow them, maybe out of tradition or convention or fear or doubt or bad habit or laziness, or maybe because it's what I see other people doing so I think this must be how things are done. Rules that seem perfectly logical and reasonable.

But it's like WHY?? Why am I following all these rules that I may or may not have had anything to do with and that maybe have nothing to do with me.

Painting is a very traditional medium. It's been around for thousands of years now and has accumulated a VERY long list of rules. So many rules that even breaking traditional painting rules has become a rule.

I think I've been very conventional in my thinking about my work. For the most part I'm a stretched canvas, paint brush and palette of oil paint and medium kind of painter. And that's been fine except that all of a sudden it's not!

Hangover painting, 2017, acrylic and oil on cardboard


I've been very precious with these things and it's holding me back. Following these painting rules whether self imposed or not, is holding me back. It's created four walls around me that I keep banging up against. I want to feel free, like there are no rules at all, like I've just discovered painting for the first time, like a child. I especially want to feel like if something's not working I'm not forcing myself to try to gloss over it to make it better. Working through painting issues and the problems we create on canvas is all very well, sometimes even the whole point, but trying to make it work just because it's already there and because I've already spent so much time on it will never work! The only rule really should be, if you know in your gut it's not working destroy it and start over. But I also have a rule about time... I think I consider some paintings finished when they're definitely not because I feel like I've spent ample time with them. Or the opposite, where I keep working on something that may already be finished, because I feel like I've invested so much money and energy in the materials and preparation it can't possibly be done after a few hours of work. These are ridiculous self imposed rules that are clouding my judgement.

Being precious with your work gets you nowhere. I need to get rid of this way of thinking and be free to get at the thing I'm supposed to be getting at! I have no idea exactly how to do that, but recognizing the problem is a good first step!




March 10, 2014

How Much Of The Audience Should I Be Concerned With?

This is a repost of something I wrote back in 2014. It's crazy that I just stumbled across it and it's like I could've just written it yesterday! 

Thankfully I feel like the new series of paintings I'm working on is resolving this very issue. I guess we'll just have to wait another 3 years to see if it still applies!

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laundry meat after a funeral, 2011, 44X44", oil on canvas
caress, 2009, oil on canvas, 54X56"

March 2014

I've always been interested in the figure, but not necessarily in figure painting. I prefer a blurry line between the figurative and abstract. I'd much rather offer a question to the viewer than a declaration. 

Although it's been a while since I made the more definitive transition to pure abstraction, lately I've been looking at some of my older figurative work with a discerning eye.

I notice a big difference in the way people respond to the recognizable versus the unrecognizable. And now that I'm thinking about it, I notice a big difference in the way I'm responding myself. It's like there was more to look at before, more of an essence. 

Most viewers had a much stronger reaction to the work that was more recognizable. I thought it was just that figures and faces were more familiar. It's also hard to experience abstract work when you're spending the whole time trying to 'figure it out' instead of actually looking, which is what people tend to do.
ugly head, 2009, oil on canvas, 54X54"

detail, in like a lion, 2011, oil on canvas, 50X76"
These paintings have a lot in common, but I do feel that there is something almost tangible in the figures that is missing in the abstractions. If I could just get that thing into the abstract paintings...

It's that human connection I've been searching for in all my work, but perhaps it was clearer to a broader audience before. 

I wonder, how much of the audience should I be concerned with? 

What do you think?

the new swimmer, 2009, triptych, 178X50", oil on canvas
skinny, 2012, oil on canvas, 30X50"



































girl with pearl earring, 2008, oil on canvas, 54X56"



snowy november, 2012, oil on canvas, 56X56"


























this side now, 2012, oil on canvas, 72X84"



baby, 2009, oil on canvas, 50X84"