-Blog entry 12
Many of the paintings seen on this blog site are good examples of my early attempts in working out-of-doors directly from the subject. I regard them as finished paintings much like my recent work in that they are a sustained and continuous effort towards expression of the experience.
The importance of these paintings is also similar in that they establish meaning to event by what is emotively experienced. This I also believe to be fundamental to the poetics of each piece.
I use the word “emotion” in a way to correctly identify the means of selection and organization of the materials or facts that are seen. This is emotion in that it creates an affinity by which the painting or drawing holds together, it is the determination of the right incident in the right place, the correct proportion or the precise tone, shade, and hue. In relation to poetics I also believe it is also fundamental to an overall determination of aesthetics in the quality of art.
Saturday, December 20, 2008
Saturday, December 13, 2008
Painting Technique 1
-Blog entry 11
Medium differences play a large but perhaps subtle role in the range pf possibilities in my work and with acrylic, oil paint or oil pastels I have discovered a use for a fluid mixing of color while retaining the structure of what lies beneath the changes offered by what is traditionally called “nature”.
Working on-site differs from my studio work in many important ways. My first pursuits working out-of –doors were practical in that they provided me with the necessary studies by which to begin my studio paintings. They also offered what is necessary for me, “direct perception” and the confrontation of fact. I should also add that it is this context that I mostly refer to with the word “nature”.
The paintings here are not simply studies and I consider them to be finished in the same sense as the studio work. In both cases these are a confrontation with fact and the interlocking of image and paint or idea and technique such that the marks defining the forms move and alter the shape and therefore the implications
of the drawn image.
Medium differences play a large but perhaps subtle role in the range pf possibilities in my work and with acrylic, oil paint or oil pastels I have discovered a use for a fluid mixing of color while retaining the structure of what lies beneath the changes offered by what is traditionally called “nature”.
Working on-site differs from my studio work in many important ways. My first pursuits working out-of –doors were practical in that they provided me with the necessary studies by which to begin my studio paintings. They also offered what is necessary for me, “direct perception” and the confrontation of fact. I should also add that it is this context that I mostly refer to with the word “nature”.
The paintings here are not simply studies and I consider them to be finished in the same sense as the studio work. In both cases these are a confrontation with fact and the interlocking of image and paint or idea and technique such that the marks defining the forms move and alter the shape and therefore the implications
of the drawn image.
Saturday, December 6, 2008
Pictures and Reality 3
-Blog entry 10
Art and the study of art lead from the work to the process of creation. Reality
develops for us in our mind, not that we re-experience the subjective process of the artist but in such that we witness an objective spiritual development, a growth from germ to completion. It creates an infinite source of meanings.
Art and the study of art lead from the work to the process of creation. Reality
develops for us in our mind, not that we re-experience the subjective process of the artist but in such that we witness an objective spiritual development, a growth from germ to completion. It creates an infinite source of meanings.
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