-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.
Showing posts with label All of Tim's Notes. Show all posts
Showing posts with label All of Tim's Notes. Show all posts
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.
Sunday, November 30, 2008
Picture and Reality 2
-Blog entry 9
Thoughts or ideas are things that are real or they could not even be ideas. Both
ideas and things must attend to the other to form the model which is of the world, the whole of reality. A model can be attended to as a figure. It is by our sense perception and the data that present patterns by which objects [things] become forms. Objects and forms exist in both the real and ideal and attend to each other. When thoughts or ideas as figure attend to objects as reality we form subject.
Thoughts or ideas are things that are real or they could not even be ideas. Both
ideas and things must attend to the other to form the model which is of the world, the whole of reality. A model can be attended to as a figure. It is by our sense perception and the data that present patterns by which objects [things] become forms. Objects and forms exist in both the real and ideal and attend to each other. When thoughts or ideas as figure attend to objects as reality we form subject.
Sunday, November 23, 2008
Pictures and Reality 1
-Blog entry 8
A picture bears witness to the world and as such it creates true insights into nature, society and mind. It contains spiritual energies that increase our capacities. A picture is a model of reality; the facts of the picture extend from the reality of the world to the model of the world. It is by our sense perceptions that we apprehend the data to form the facts for thoughts [ideas] connected to reality.
A picture bears witness to the world and as such it creates true insights into nature, society and mind. It contains spiritual energies that increase our capacities. A picture is a model of reality; the facts of the picture extend from the reality of the world to the model of the world. It is by our sense perceptions that we apprehend the data to form the facts for thoughts [ideas] connected to reality.
Sunday, November 16, 2008
On Models and Pictures
-Blog entry 7
The facts forming the elements in picture are in equilibrium in a determinate structure thereby a picture is a model of reality. As a model of reality a pictorial relationships exists between things [objects] and the pictures elements. Pictorial form exists in that things are related in the way as are the elements of the picture. The pictorial relationship is its immediacy. A picture must have pictorial form and a pictorial relationship to have logical form to create meaning.
Facts are related in form to other possible facts; facts can present other facts in a different quality.
The facts forming the elements in picture are in equilibrium in a determinate structure thereby a picture is a model of reality. As a model of reality a pictorial relationships exists between things [objects] and the pictures elements. Pictorial form exists in that things are related in the way as are the elements of the picture. The pictorial relationship is its immediacy. A picture must have pictorial form and a pictorial relationship to have logical form to create meaning.
Facts are related in form to other possible facts; facts can present other facts in a different quality.
Sunday, November 9, 2008
On Contingency
-Blog entry 6
Facts are embedded in logical space thereby forming contingency. Contingency is a matter of the combination and separation of objects. The object is set in equilibrium between a structure of necessary connections. Things [objects] must be possible constituents in states of affairs, fit to enter states of affairs. This possibility is a contingency itself.
Facts are embedded in logical space thereby forming contingency. Contingency is a matter of the combination and separation of objects. The object is set in equilibrium between a structure of necessary connections. Things [objects] must be possible constituents in states of affairs, fit to enter states of affairs. This possibility is a contingency itself.
Sunday, November 2, 2008
On Things
-Blog entry 5
Objects in the world are elements in the picture by corresponding to the facts to them. Things [objects], by virtue of their form determine the structure of the logical space.
Logical space, physical space presents a collection of locations, positions or places; a manifold of systematically related places.
Objects in the world are elements in the picture by corresponding to the facts to them. Things [objects], by virtue of their form determine the structure of the logical space.
Logical space, physical space presents a collection of locations, positions or places; a manifold of systematically related places.
Saturday, November 1, 2008
Tim on the Thames River
This clipping was borrowed from the Thames Topics booklet, published by Celebrate the Thames - Urban League of London, to showcase artists who have been inspired by the mighty river. It was part of an initiative to have the Thames River declared a Canadian heritage river, which did in fact happen.
Sunday, October 26, 2008
On Perception
-Blog entry 4
Space is created solely by the objects; an object that moves without any relation to another object could not give the impression of space. The subject here becomes decisive. One must create an object which conveys an impression as close as possible to that received when contemplating the subject. One hollows out space so as to construct the object and the object as such creates space, the space that exists between the subject and the painter.
Space is created solely by the objects; an object that moves without any relation to another object could not give the impression of space. The subject here becomes decisive. One must create an object which conveys an impression as close as possible to that received when contemplating the subject. One hollows out space so as to construct the object and the object as such creates space, the space that exists between the subject and the painter.
Sunday, October 19, 2008
On Things
- Blog entry 3
Of fundamental importance is the relation between the objects and the surrounding space, and also to their being placed, (set), at a correct distance. The latter is an extremely difficult question since various radically different qualities enter here; the closeness of the artist to the figure or object which kindled the imagination; the distance at which the beholder should place the substitute for that figure or object in order to reestablish the original impression. This is not identical with the interfacing space which separates a person physically from the work. This is a question which becomes complex since it presents itself not only for the whole object but also for every single part into which it can be divided ad infinitium. In other words, to study this problem one must be submerged in the work. Further these various parts should be seen as a function of the relations between them and the beholder and their correlation. There is no preset relation to arrive at their representative proportions and the connections within the work.
Of fundamental importance is the relation between the objects and the surrounding space, and also to their being placed, (set), at a correct distance. The latter is an extremely difficult question since various radically different qualities enter here; the closeness of the artist to the figure or object which kindled the imagination; the distance at which the beholder should place the substitute for that figure or object in order to reestablish the original impression. This is not identical with the interfacing space which separates a person physically from the work. This is a question which becomes complex since it presents itself not only for the whole object but also for every single part into which it can be divided ad infinitium. In other words, to study this problem one must be submerged in the work. Further these various parts should be seen as a function of the relations between them and the beholder and their correlation. There is no preset relation to arrive at their representative proportions and the connections within the work.
Monday, October 13, 2008
On Making Pictures
- Blog Entry 2, provisional date, Sept 2, 2008
A picture bears witness to the world. The world is a totality of facts that then present other facts that are pictures, not a totality of things (objects). Facts in logical space must be embedded, must be “set”.
A picture bears witness to the world. The world is a totality of facts that then present other facts that are pictures, not a totality of things (objects). Facts in logical space must be embedded, must be “set”.
Thursday, May 29, 2008
Notes of a Painter
- Blog entry 1, provisional date, May 26, 2008
The two videos that have been recently posted serve a purpose that is twofold. In one respect I am trying to illustrate one of the fundamental aspects of my working method and that is that I begin the creating of my paintings from the raw or first hand experience of perception. This of course carries with it all of the subsequent environmental factors which in this case are the nuances of snow, wind, grey skies etc. that is typically associated with the seasonal aspect of this particular subject. In future I hope to illustrate this again within the other seasons or perhaps other possible aspects of the dominant theme of a particular group of paintings.
A second purpose for these videos lies in the form of the editing that I've applied. I was interested in emphasizing aspects of the possible fragmentation of how we can see things in terms of wholes and parts. This is similar to the painters of a past era known as the cubists, Pablo Picasso certainly pursued this as did George Braque, Marcel Duchamp etc. but unlike the cubist painters I would introduce the notion of "worlds" which will imply a form of simplification and also to suggest the time honoured statement,” a whole is more than a sum of It's parts."
The two videos that have been recently posted serve a purpose that is twofold. In one respect I am trying to illustrate one of the fundamental aspects of my working method and that is that I begin the creating of my paintings from the raw or first hand experience of perception. This of course carries with it all of the subsequent environmental factors which in this case are the nuances of snow, wind, grey skies etc. that is typically associated with the seasonal aspect of this particular subject. In future I hope to illustrate this again within the other seasons or perhaps other possible aspects of the dominant theme of a particular group of paintings.
A second purpose for these videos lies in the form of the editing that I've applied. I was interested in emphasizing aspects of the possible fragmentation of how we can see things in terms of wholes and parts. This is similar to the painters of a past era known as the cubists, Pablo Picasso certainly pursued this as did George Braque, Marcel Duchamp etc. but unlike the cubist painters I would introduce the notion of "worlds" which will imply a form of simplification and also to suggest the time honoured statement,” a whole is more than a sum of It's parts."
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