Beyond Conception

Sometimes I think that the overall harmony of the painting comes to its own by sheer desperation. I look at some of the elements of my painting and could not even imagine how I could conceive the idea of that.

This leads me to my ideas of conceptual painting. The idea of executing a concept solely, seems like the most backwards way of working a painting that I can think of (in retrospect, this is such a different way of working that I just don't seem to comprehend it).

The beauty of painting is the continual reinvention of the language. The "idea" comes through the form. Most ideas of artists are pretty stupid. But it doesn't matter. Artists put themselves out on a limb, and we love the poetry of their stupid ideas.

Levels

Like poetry, painting needs to be viewed many times over and over.
It is enjoyed slowly on many levels.

I think it is better to read a few books thoroughly and truly enjoy them, that to skim through many.

Crisis

Bringing a painting up to the point of how I behave in a crisis always pushes the painting farther. And in a better and unpredictable way that can bring wonder.

If I attempt at flattering the viewer, I always get a unexpected negative response.

Form and Content

As an artist, all you can do is to feed yourself intellectually and when you paint, follow the form as it pleases you. The content will find its way in.

The more you have developed culturally and intellectually, the more you can enjoy looking for that little content that squeezed out.

Ovid

"My inspiration carries me on to new things" Ovid

In nova fert amimus

The Palette

It is important for me to paint with my guts as well as to be good with color.

Sometimes the most exciting color harmony comes from just using your guts.

Setting up the palette in such a way that I can see more of the color combinations, will help when all goes instinctual.

Scene

The idea of a painting being described as a scene interests me. A scene is like a part of something larger, as if in a movie of a play. I would like to think of it as a place where a human drama is performed.

There has to be a tension between the depiction of what is happening and the sense of environment that sets the tone for all of this. Painting, like poetry can indicate something very particular by merely suggesting. As far as the figuration of these paintings, I feel as if I am focusing on setting the scene and then watching the drama unfold.

The form should be read first like music, whereby the content slowly comes to light.

More than anything, I love when the painting begins to speak with its own voice, in its own world.

Just one tiny inflection of tone or hue can completely change the painting as a whole. This is one of the most exciting to witness in the poetry of painting.

The way pieces of color are arranged in relation to each other is what creates the illusion of light. These harmonies are what sustains us until the content is distilled and can begin to speak.

TItle of Paintings

I look forward to what my paintings will bring forth in the future. I trust that there is no limit to the complexities of nature. That I may stop looking so hard and let these things come forth.

As the seasons change and the sun goes down, it is easier to see / imagine the depth of the space, even between my eyes and the ground I walk on.

The secret laws of painting are somewhere between what you thought you saw and what moves you. This is something very hard to pinpoint.

How to title your paintings? What is it that you want to convey in the literal sense to attach to your painting? Should I describe the noun or the or place? Subject of what is being depicted? Should I label what is happening in the painting, or what it looks like may be happening?

If I am standing outside near a tree and say this is a painting of that, and point toward the tree, or if hold my arms out and say a painting of this. The second would encompass what is all around you. Is there a way to make this distinction in the selection of a title.