![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUAtok4gy7l_32p-q5A0HhVRmjEo0HbjGnlHGgsVJWfFPjJjapc1cY3UyCYKj3nj7PhLS5X-F6tljSR4y0tA7JladM3D03pCpDNK2DPTbl_CNIDrVWPkSKKuNki-eY2lkTIW73F3DnAOM/s320/IMGP2105.jpg)
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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.
4 comments:
am i projecting or do i see flagsticks and golf balls
I hope you are merely projecting (and not influencing).
Hey Carla, I see that blogger/painter Christopher Saunders (Highlow & inbetween) is in that show, you should introduce yourself.
Thanks Steven, will do. What great art show company to be in!
Also, It's been taking me forever just to write a small blurb statement for these paintings. I remembered a scrap of paper somewhere having something that stayed casual, but stated it all pretty well....search and search the house. I was remembering this post's text, but forgot it was here.
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