Thursday, October 25, 2018

Untitled (For Luna)

Untitled (For Luna), 60" by 72", oil on canvas, 2018

My latest canvas is the second largest single panel painting I have made so far (the biggest being 6' by 6'). It's difficult to capture in digital form but the effect of the low light on the surface of the canvas creates an interesting buzz as our eyes try to adjust. A buzzing sensation is compounded by the approximate value of the line work. Below are some of the comments on the work:
-relates to the environment and to our bodies
-is it a portal? can you step into it?
-digital/molecule/atomic/cellular structure hints
-also 3D effect
-push/pull contrasts
-strong in less-than-ideal lighting
-pre-built colour, not out of the tube or simply "blue"
-interrupted field
-speak about the difficulty of looking
-not as painful to look at as some of my other work (I liked that comment)
-opticality
-autonomy
-physical
-this painting is trying to show something
-also about time

Wednesday, October 3, 2018

Untitled (Current Atmospheric Conditions)

We had our first crit/group meeting today for the advanced studio class I'm taking and here is the piece that I presented.



Pretty good responses from the group and my prof:
-daylight diffused
-variation of opacity of the lines guides the eye
-warping
-optical vs illusory
-sequencing: relationship to simultaneity
-holding space: a conversation with the building
-height: activates you
-authoritative, fencing
-delicious (want to lick it)
-aware of the perception, questions it
-opponent-process effects
-feels sculptural
-object/image
-frieze (architecture)
-illusory charge
-sublinguistic: a need to make them (why? what is this?)
-quality of time, the anonymity of the artist (back to the maker)
-incidental metaphor
-socratic cave?
-positive/negative flip
-hurts the eyes: optically pop out
-structure of looking
-the single panel might be viewed as artifact whereas the sequence is something else


Thursday, September 13, 2018

Constancy of the Present

Thinking about existential-phenomenology, specifically Merleau-Ponty:
-a zone where being and consciousness coincide
-the constancy of the present
-"now" is an artificial way of constructing the present
-we exist in the present but what about memory?
-internal perception of time vs. clock time
-time is a fountain
-embodied stimulation
-the role of the body in perception (not just about the mind)

A few things:
-ontology = what is
-phenomenology = what appears

-plenum = the whole of space

-what does time look like?
-what colour is the present?
-what about colours that change? colours that change as you move (reflections?)
-what about colours that fade?
-what about colours that get harder/easier to see over time?



Philip Guston

Henri Matisse



Brice Marden


Wednesday, August 29, 2018

Dekooning's Door

Inspired by his "Door to the River" (1960)
I like the tall rectangles
Figures, maybe
Gateways
Through spaces
Passages
My conversation with him


Splashing, striking, tearing
To break through to something new


Slowly rubbing, drawing, deliberate
To make a boundary


Wednesday, August 22, 2018

Wednesday, August 15, 2018

to take the edge off

For everyone feeling a little anxious and high-strung today (could be the forest fire haze affects us subconsciously) here's a little something to look at to slow you down.


Wednesday, August 1, 2018

Internal truth

What is "internal truth?"
Connection?
The soul?
A place deeper than thought or emotion
The inner life, deeper stream

Practical examples of soul-stirring (to show a few)

Rothko Seagram Murals

Bourgeouis Maman (Ottawa)

James Turrell

Kusama Infinity Net paintings

Philip Guston Sleep


Thursday, July 19, 2018

The subject of the painting

Painting an image of an object is, to my eyes, one of the more mundane acts a painter can do. Yes, I know the challenge of likeness and degree of "realism" is of extreme value, but the image stops at the recognition of the subject. There may be an implied narrative or psychological response to the image of an object but is that enough?
Painting a thing (an object stripped of its function or memory) is more interesting. The viewing experience engages more perceptual modes of the viewer; if the brain can't codify/recognize what you are looking at, it's going to keep trying to find a "meaning." This act alone can last for many seconds longer than looking at an image of an object (our brain are very adept at recognizing things). The delay in being able to name the thing might trigger thoughts about the colour, forms, paint, and other material/physical aspects of the painting.

Which is more interesting?
Chardin

Cezanne

Credit unknown


Rothko

Wednesday, July 4, 2018

Is an image of a thing enough

 . . . to stir us?
We sleepwalking autopilots.
What does stir us?
The extraordinary (I love that word; so ordinary it becomes special)
The present is extraordinary
How can art . . . how can painting reflect that?
Is it possible to create a deep, meaningful experience, a slow releasing connection in a world of surface, screens, and instant gratification?

I believe in the poetry of the hand.
The touch of the artist.
This, in some ways, is the connection.


The mark is the artist's hand made visible.

I want to convey the small, incremental moments of life/time.
Life is not all grand gestures and drama.
It is made from the slow build-up of moments.

Thursday, June 28, 2018

Modern Colour

Neon, fluor, screen, lights
Colours that are temporary
Colours that you switch on and off

Colour is always changing because colour is light.
Light is always in a state of flux.
Not Heavenly light, the spiritual
But light as particles
Light as waves
Light as universal law

The absence of light means darkness
But not necessarily black
The colour going out

White does the same

via GIPHY

Tuesday, June 19, 2018

Colour ideas for paint-heads

(Ramble alert)
I've been reading David Batchelor's Chromophobia and it confirmed a lot of things I've been thinking about in terms of colour and painting.

Thursday, June 7, 2018

Process process process

Here are a few images of my current work in progress. What I find interesting with these "black" paintings is that I can turn down the light. I'm not able to do that with the cellophane works because the material is too reflective. It would be interesting to see them in dialogue with each other in a large and properly lit space.