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.