The Red-Finned Blue Eye, one of the most threatened species on the planet, inhabits just four springs in Australia and is preyed upon by invasive species. It was discovered and described in 1990. There may be only a few thousand individuals surviving today.
And now for a post about art from the (not so) distant past … Six years ago, I was in art school stretching my own humongous canvases, spending hours and hours pondering and journaling on the perilous possibilities of form, content, and the place of painting. This is a piece I’ve been living with ever since. I think I’ve shown it maybe three times, but for the last several years it has occupied a lonely place in my bedroom. I recently re-hung it on a wall, where paintings belong.
Reconsidering this painting now, having lived with it for so long and having hauled it through at least four different apartments, I have a very physical connection with it. When I was making it, I was really focused on the process, and color/composition work often were placed on the back burner. I was muddling through this sort of “constant revision” approach where I would begin something but refuse to become committed, obscure it, and start again, with the result being a sort of time warp where you can see the flux of several different sketches without a necessarily recognizable “finished” product. Adding to this, I think this particular piece was based on live models, but every 120 seconds or so they would change position, adding to the time lapse effect. This way of working I think was a precursor to my concept of “progression” or “progressive” painting, wherein the process is paramount and the “end” of the work is slippery.
However “unfinished” it was at the time, I haven’t touched it in several years and I think I can say that I probably will not return to anything on this particular canvas … So be it … Let’s call it done!
“Wandering” / “Exploring” / “Essaying” / “Probing” … These are just a few ways I could characterize my approach to painting, especially when working in a relatively larger format. I don’t rely on a lot of planning but rather sort of let my process guide me through the work. In this piece, there are several overlapping sketches and paintings … you can see the initial stages in my previous post “About: Color.” I work through these quickly at first and then slowly consider what is emerging, making decisions on the fly. In this way, the different levels of the painting tend to merge and present themselves all at once, which for me is a potent way of tying time together and presenting this work as an idea/process that may suggest something pointed or simply observe in a non-linear fashion. I often feel my role in a painting, and certainly in large works that fill my entire scope of vision, is that of the explorer, as ready to discover as I am to make formal decisions about the direction of the piece. Central to the way I work – and to the practice of painting itself – is the idea that whatever happens remains visible … Decisions made in the past remain in existence and are presented all at once to the viewer, which separates painting from most sculpture, video, performance, etc. Continue reading →
Continuation of series of color “calisthenic” exercises. Finding it easy and freeing to refuse commitment and have fun with the possibilities. Focus of work here is exaggerating unlikely colors perceived in the subject and extending their range using wide artistic license and some imagination. Trying not to get too hung up on details, suppressing analytic sensibilities while working the surface. Side note: Zz plant is toxic to kitties meow. Continue reading →