Tuesday, April 29, 2008
Sunday, April 27, 2008
This guy on bike with empty gas tanks was very funny - It moved faster and made a different sound from everything else, it was so labor-lax, and yet it made this startling impact.
guy in a sensory deprivation suit receiving transmitted signals - the site which had info on this guy is gone -anyone reading this that knows more?
Tuesday, April 22, 2008
These are for an upcoming show at the Silas Marder Gallery, "The Big Show". Everything about this gallery and this invite felt good. These are of the "Love Hovel" series, are 8" x 10", and are really difficult to photograph. This sidelong candid shot with flash actually gives a better representation than any lighting or direct scanning I've tried. I think they should be videotaped, because they change so much as you approach and move around them.
The "Love Hovels" theme is used as a conceptual framework more than as a subjective narrative. It's a supplied context, which both frames and generates image-creation. I like thinking of subject matter this way, as a means which may or may not figure into the final piece, because it allows me such freedom. I can follow peculiar hunches regarding form or content. I can work with muddled logic of pictorial arrangement, or of illusionistic space.
The "Love Hovel" theme suggests so many possibilities. It's a place, an arrangement.....construction and debris.....an enclave...an "us"......a "them".....it's clannish. This all indicates directions for painting. It creates opportunities. I can focus on this as subject matter, but I can also let this be a backdrop for, say, an extensive exploration of cadmium red.
It's a context for generating new form using the process of painting. And all this happens within a rather traditional framework: a gravity-bound ground in a picture plane.
Monday, April 21, 2008
I'm going through the looking glass with these - allowing known standards of logic and good taste to fall away.
I don't know if I've arrived on the other side yet, or if "arriving" is even the best outcome.
Do these need to re-form in a convincing way?
Can an image be believable without being convincing? Is this a workable place in which to paint?
Updated 4-22-08: Hmmm. On-line this painting does not look jumbled at all. I do wonder if I get too navel-gazey, in which case much of my ponderings seem hystrionic.
Monday, April 14, 2008
I thought canvas would slow me down so I based these in metallic paint (slippery even when dry). The resulting surface is great. It's so sultry, and apparently it is impossible to not create illusionistic space when painting on canvas...and so I taunt that ready space with impossible incarnations of reality.
As you view them, these vary a lot optically. There will be more metallic canvas grounds.
Monday, April 7, 2008
Wednesday, April 2, 2008
I've been very patient and receptive with this panel, waiting for something to happen. Last night I manacled it. I aggressively forced it to do something. What a novel notion, that I can assert my will like this. I've focused so much on all the myriad ways to let things happen, to facilitate chance. I haven't really explored my dictatorial powers, but I'm gonna.