Saturday, November 18, 2006
Imprint
Macro
Roots
That One
The original idea was to express the chaos of thought and the process behind any banal decision or act. Our decisions are influenced by the millions of units of information we take in every day. Each option commands attention, eventually resolving into a decision. I wanted the demonstration of a decision made to be painted in realistic style, the thought behind (out back) to be a graffiti scramble, a bombardment of image & word. I learned from speaking other languages that we always scramble, even rehearse, putting thought and desire into word and action. I thought of a banal task like buying a pack of cigarettes and backed it up with a heedful of icons, principles and emotions. The written strips at the beginning of the painting could represent formal learning, which filtered through the brain’s collective colourful storehouse, arrive at nothing more than the banal gray decision, yet the brainstorm of arriving there is a wonder to behold. The center graffiti section of the painting presented the most challenges. I had experimented with transferring photocopies to canvas and decided that some of the classic images of our culture were stronger as tencil graffiti, and some hand lettering added street crudeness. I tried my hand at a tag in the center of the painting and gained immense respect for this art form. The splatters of paint roughen the wall of thought and are like brain static. I wanted the painting to explore one of my pet themes – that of a moment stopped in time.
Up the Creek
The original idea was to paint rocks underwater. I photographed lake and creek stones, and in looking at them was struck by the images of rushing water. I decided to combine the stones and waterfall, and treat it as life itself, diverted by powerful forces, a period of crisis through the waterfall, the boulders playing the immovable cause of this crisis. The water’s rapid change of form results in the beautiful clarity of the multicolored stones laid exposed gemlike facets of a personality. Everything becomes clear in the end. I started painting pebbles as a way to entering into the body of the painting. At one point they were finished, I added a sunlight glaze dapple, hated the effect and had to repaint all of the stones. I had intended the two side boulders to be more forceful, abstract, with edges and force pointing inward to the waterfall, but after several unsatisfactory design tries, I decided to go ahead and paint the waterfall. This came out so well that I didn’t want to ruin its effect by being too drastic with the boulders. The contrast of states was the original idea so I decided to leave the boulders smooth and realistic. I kept the water in the top of the picture dark, deep, slower flowing, so that the shock of the waterfall emphasized the water’s previous state, its adolescence, which rushes to the crises of maturing, and opens to serenity of age. Once the waterfall was painted with its dress form, the body seemed to be missing so I carried the veil of two arms and a head upstream and helped suggest movement. Once painted, the waterfall, to me, suggested a woman’s dress, a long gown, and that some proper placement of marks on the boulders could lean toward the waist and the knees of the gown. One planet like boulder could suggest the force of harmony, and the other boulder with its clawed fist suggest the force of destruction. Sybil and Charybdis? Green has a neutral place in this picture, some moss and a few plants. It helps hold down the real blackness underneath.
Fetish
I dreamed I was driving
Next Wave
Life on Mars
The closer you get....
Fritz
Fertile
Culture Vulture
Vita Artificiale
Lips
D'Uomo
I had been intrigued and was searching for images of a pile of bodies, an image which unfortunately is all too common in our modern world – images of massacres. I had also always wanted to paint a dome, and had done several sketches with ladies dancing under a dome – but hadn’t developed this further as it lacked drama and tension. I realized that by putting the two ideas together I could make a political statement – that being, in spite of all of our wonderful structures which attempt to convey our spirituality, we more often manage to create only another type of dome, that of a pile of bodies. After searching for the perfect dome I settled on the dome of the church in Sienna. Its star designs helped to emphasize the spiritual aspect I needed for the dome. The pile of bodies in left almost unfinished, dirty, undetailed, as I had flirted with he idea of just painting a pile of shit under the dome, but decided to make the disgusting heap more shocking, yet somehow amorphous like a pile of dung. This stinking heap under the beauty of the dome helped emphasize the dichotomy. The light from the dome appears in many photos of dome interiors and as a single source of light, it leads the eye upward to heaven. This beam points straight to the worst accomplishments of man. The title D’uomo is a play on the words duomo which mean dome and uomo which means man.