Tuesday, April 30, 2013

Blue Sky Mind

While the blue sky gives way to a soft day of rainy greys I don't mind.  Spring is unfolding ever so magnificently.  The rain only brings more and more wonder to see in the landscape.

I work in the studio with the garage door open to smell the sweet grass and pungent mud.  

On canvas I paint with mud as well as a bit of blue for sky on a new image/abstraction.

The current canvas is another manipulation of disparate images overlapped. A bit of a smudgy old piece of plastic, an image of trees smeared by the speed of having taken the picture out of the car window and one of my little scibbled people.

Together they somehow work into a composition I'm calling, "Blue Sky Mind".  At this stage of developing an image I'm always thinking I should add more.  I'm resisting the urge by setting the canvas aside to dry.

I may yet add to it, but, for now I'm pleased that my original idea has translated well to canvas.

"Blue Sky Mind"  46"x57"x2.5"  acrylic & oil on canvas

Thursday, April 25, 2013

Today's offering, on a rainy day in early Spring are two digital collages.Taking photographs or bits and bobs of scraps of things that I throw on the scanner and then assemble makes for lovely textures, shapes and colours without a particular context.

This is a new way of seeing as I experiment without thought to "what" the image should look like.  I rather like to "respond" to putting images together.  The end result is abstract, certainly, but I hope pleasing to the eye in an unconventional way.  As if you can almost see some nameable thing inside the abstraction. This folly makes me happy and sometimes a bit confused. However, I've decided that being confused is alright and perhaps desireable in the scheme of things.  Because if everything is known and everything is named where is there to go to next?

left, "Walking home"
(made from a reflection of a fork in a plastic cup and image of a manhole cover)

below, "joint"
(made from scanning the bottom of a biscuit pagkage and an interesting wooden stick)

Thursday, April 11, 2013

ruin reverberant

The soft days of spring are here.  I think it must make everyone's hearts lighter in leaving winter behind.  We wait to so long for changes outside the window.  Now with the rains the changes are visually perceptible.  I swear I can see the colour green moving quickly across the dull grass.

So to, in the studio, I feel the excitement of working on my own paintings as I experiment with new ways of looking.  Sometimes only able to realise what's going on outside my door by the drama of a passing thunderstorm.  It's good to be absorbed by concentration but also be able to be aware of the greater world around you.

In painting, I think a world is created in each piece as an attempt to relate to that greater world around us or to give comfort in thinking we can "understand".  We are no longer satisfied with a realistic representation of our world but of, perhaps a relation to our own inner world or the world we wish we could invent.  And so we do, artists invent the world.  And it is always interesting even if not always understandable.

In conjuring this current painting I cut up bits of images on transparencies and put them together out of context.  The resulting image makes me happy although I can't tell you why.  It is not a picture of anything definitive although I know we all tend to "look" for recognisable things in pictures.  Instead, I think it is more a feeling of something.

It is made up of a picture of an abandoned room ruin as a negative and positive image, a microscopic picture of cells, my fork reflection in a plastic deli cup on it's side and an old saxaphone.

Looking at the painting I think of it as a statement on the environs of our closest city, Detroit.  The residents here all "understand" about the decay of the city. Yet it seems that it has been with the city so long that the decay has become rather "institutionalized".  This painting speaks to that, I think.  That's why it is called, "Ruin reverberant", for here in this ruin of a city there is a sense of holding on to the degradation as it is the only legacy that is known.