Saturday, January 13, 2018

Thoughts on Beauty

What is beauty and why does it matter?
In my opinion, beauty is a standard or ideal that is agreed upon (consensus) outside of the individual (social). Its twin is ugly or non-beauty.
If I were to say if beauty had a function, it would not only bring pleasure to our senses but make us feel connected in some way to the world as a whole.
(bear with me cuz this is gonna get rambly)
In relation to the art that I make, is beauty important? Do I use beauty as a tool like I do my flat no. 12 brush? Going even further back to the question, what do I think beauty is? What are some examples? How does beauty differ from aesthetic experience?
I know that the purpose of my art is not to take the viewer on some life-enhancing experience . . . but why not? (contradicting myself already) Let's go back. What is beauty and what are some examples?
Currently, this is what I think beauty is.

Just off the top of my head.

Now, why does it matter? hmm, more later . . .

Wednesday, January 3, 2018

Thoughts on my drawing/painting/installation practice

What do I want to make this term for my interdisciplinary studio class?
I want to make large scale drawings/paintings/installations that deal with the structure of looking.
One of my profs recommended the book "Vision and Painitng: The Logic of the Gaze" by Norman Bryson. I've read the first chapter already and despite it being verbose in some sections, I think it will be interesting for the theoretical underpinnings of my practice. The Plinian model of representation is something that I want to question ie. painter as communicator of perceptual material to viewer as the site of reception eager for perceptual satisfaction.
I want to use the "mark" as my tool, building block. The poetry of the artist's hand is important to my work, not in a heroic sense, ie the grand gesture, because life is not heroic. Life is a series of small moments that accumulate into a lifetime. The mark is a measure of moments.
Perhaps large fields to immerse your field of vision, again Kusama, Guston.
Philip Guston

Yayoi Kusama
I want to make some experiments/process based works because I have a habit of stumbling onto things that have a lot of potential.

Why? Why should anyone care?
Something that Bryson already touched on in the first chapter was that the success of a painting using the Plinian model was based on the speed of which the viewer consumes the perceptual material presented by the painter. Any interuption is seen as negative. I can tell that this model is antithesis to my existing process, but it's interesting for me to know why and how. I think this will help immensely.

Wednesday, December 20, 2017

Static Shock, 48 inches by 36 inches, oil on canvas, 2017

Aloe Vera, 48 inches by 36 inches, oil on canvas, 2017


My series of striped forms paintings seem to be developing into something where the reference to figuration is just barely there. I'm really excited about them and have been rather obsessed! I'm going to take an actual break now for the holiday season and hopefully, I can pick up that momentum when I get back. In the meantime, I'll show you what I mean and what kind of inspiration I'm drawing from now.

Cecily Brown

Cecily Brown

Arshile Gorky

Arshile Gorky

Mark Rothko

Mark Rothko

Sunday, December 17, 2017

Quotable quotes

Today must not be a souvenir of yesterday, and so the struggle is everlasting. Who am I today? What do I see today? How shall I use what I know, and how shall I avoid being victim of what I know? Life is not repetition. (Robert Henri)

What am I in most people's eyes? A nonentity or an eccentric and disagreeable man... I should want my work to show what is in the heart of such an eccentric, of such a nobody. (Vincent Van Gogh)

I am constantly preoccupied with how to remove distance so that we can all come closer together, so that we can all begin to sense we are the same, we are one. (David Hockney)

Tuesday, December 12, 2017

Butterflies in Formation

Butterflies in Formation, 48" by 36". oil on canvas, 2017
Process images of the development of this painting. I take a lot of snaps of my paintings as they develop. I like keeping this kind of record because when you are in the groove, it's hard to remember how you got to where you are.