a multi-disciplinary dialog
What came to mind is ‘das Unvollendigte’, translated into English as ‘the Unfinished’. Below are three paintings that I worked on off and on since the spring.
The first one is a view from a Pierce Stocking Drive dune.
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12×16, oil on board.
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To learn about fluid dynamics and how to depict it, I will now use this picture as a motif for painting:
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I feel as if I have been away forever. Life overtook my Art and Perception, although not completely my art and not completely all my perceptions.
So here’s an update.
After a long struggle with health and painting, I’ve finally revived and have been painting the landscapes of the Willamette Valley in western Oregon. The change of venue from the wild and awesome desert to the gentle scenery of the Valley was fairly traumatic and also the cause (I think; I hope) of some really bad paintings, now discarded. But I’ve kept a few and think I may be able to tolerate the pretty landscapes and conventional views to which I’ve been subjected. (I’m engaged with a group of plein air artists who always choose not to paint the snarky or sardonic.)
The paintings imaged below have been done since the end of June. The first four (through the Storm) were attempts to provide a sense of expansion outward rather than focusing into the painting. This outward away from the center is what I feel the desert does, and I thought painting sky and/or water might keep me in touch with that expansion of space so essential to desert painting.
Morning Fog in the Gorge, 12 x 16″, Oil on board, 2009
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I occasionally worry that my tendency to analyze—some might call that an understatement—could be a negative influence on my work, causing me to lose spontaneity or fall into one rut or another. But I’ve now proven to my satisfaction that any effect is both unconscious and ineffective. Here’s how it happened.
Uncondiotionally 2009
Tittle: Unconditionally
Size: 102×76 cm
Medium: Oil on canvas
Don’t know if you all read on my web biography that recently I have embarked in a deep and personal spiritual journey that has opened a door to the ethereal world of Reiki and crystal healing.
Through meditation and welcoming my Spirit and Angels to guide me through my work I have learned to give Reiki to my paint tubes and canvases before I start a painting.
My intentions are to create more than just a painting, but share a healing experience through the vision of the Divine irradiating a sense of peace and love of nature.
I am not sure if you all seen the film ‘The Secret’ but there is a very interesting part about a Feng Shui consultant working with a painter and how his works become the reality in his life through the law of attraction.
What are your intentions in your creations? Are you attracting what you want into your life through your works? Are you really showing your world and the true inner self?
What do you really want to achieve?
Your true self is how you feel yourself when nobody’s watching. It is where your deepest thoughts live. It is what you ultimately think of yourself, how you treat yourself and what you fear others might see inside you. It is your most native and real personality, your true Spirit!
Once you change the way you feel about yourself and evoke it into your works, the law of attraction will change your life. You are the magnificent creator of your own reality!
Even if you don’t care greatly about Picasso, I recommend the Charlie Rose interview with Françoise Gilot, who lived ten years with the man. A talented artist herself, and very independent-minded, Gilot frequently discussed art with Picasso. Much of what he said about how he worked has come to us through her. For example, regarding the rather complex, high cubist paintings, he said than in the “early stages” there were almost no “references to natural forms…I painted them in afterwards.” Braque had a similar working procedure. Rather than abstract from an initial representation of a scene, these cubists–at least for a time as their approach evolved–roughly laid out their abstract, faceted spaces and forms, then filled in enough clues to suggest the subject. Those clues could appear in rather disconnected spots. I believe it was the dealer Kahnweiler who said they had developed a way to free objects, showing that they existed without showing where they were located.
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As many of you know, I have this thing for low solar angles. This is a sheet of acrylic in its protective layers that I casually placed on the back porch. It reflects little while transmitting a softened and generalized view of things beyond, including the combined image and shadow of a mop handle. The nice blue is the color of the protective material. Really, no issues to discuss – I just thought you’d like to see this.
