Often, an individual pieces of yours will strike me as a gedankenexperiment.
I always tried to see that in Morandi's jars/permutations but it never really happened for me.
Maybe because that sort of "brut" effect works better for me in artists like Philip Guston.
I think your work moves towards these philosophical ideas because of the way it plays with things like opacity, translucence, transparency, and of course color....
you seem to have some op-art machinations too which are pretty convincing and give a lot of negative capability to the drawings...
Your one drawing in your other set so made me think of this great painting we had once at the Museum years ago...I have the catalogue somewhere...it's not visual similarity so much as spiritual methodology...if I can find it I'll scan it...
You're so in tune with this stuff. Besides having to look up what gedankenexperiment meant...It is like that. When I am trying something new it to see if it is a fit for bringing out the truth of 'why I am gettin' my art on.' I have no grand hypothesis as in the formal experiments that took place, but the same principle applies. If I find the truth I stick with the style/technique and if it's a bomb...well I do something different. This drawing was definitely an experiment and came out a little dry. But that could have been the point, I'm not sure. I saw the shapes before the heart. Sometimes, of course I'm just having fun.
5 comments:
I love how this work is almost "about objects."
Almost. About. Objects.
So much of human thinking is that, isn't it?
Abstractions that only exist in the tenuous way these "objects" exist here.
But the brillian coloration/emotion surely exist.
But trying to ground these abstraction in reality sometimes can be hazardous for one's mental if not spiritual health.
These objects tenuously commit to existence, or commit to a tenuous existence.
And yet it feels (ambiguously) cheerful.
xo
About. Almost. Objects.
I should have said.
I think those three words say it.
Often, an individual pieces of yours will strike me as a gedankenexperiment.
I always tried to see that in Morandi's jars/permutations but it never really happened for me.
Maybe because that sort of "brut" effect works better for me in artists like Philip Guston.
I think your work moves towards these philosophical ideas because of the way it plays with things like opacity, translucence, transparency, and of course color....
you seem to have some op-art machinations too which are pretty convincing and give a lot of negative capability to the drawings...
Your one drawing in your other set so made me think of this great painting we had once at the Museum years ago...I have the catalogue somewhere...it's not visual similarity so much as spiritual methodology...if I can find it I'll scan it...
Oh, can I post this drawing on my blog tomorrow? I'll just gloss it briefly if I do, but give attribution....if so, let me know via email okay?
I'm going to bed shortly but will get it tomorrow.
Have a great night.
I'm very buoyed by how you continue to produce art in the work setting.
I always did that too, with poetry.
The sweetest "theft."
How can giving be theft?
A paradox?
Joke...we're human...art should be exempted in small doses from policing...time management can still be respected while art slips out...
Nighters!
You're so in tune with this stuff. Besides having to look up what gedankenexperiment meant...It is like that. When I am trying something new it to see if it is a fit for bringing out the truth of 'why I am gettin' my art on.' I have no grand hypothesis as in the formal experiments that took place, but the same principle applies. If I find the truth I stick with the style/technique and if it's a bomb...well I do something different. This drawing was definitely an experiment and came out a little dry. But that could have been the point, I'm not sure. I saw the shapes before the heart. Sometimes, of course I'm just having fun.
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