The previous entry addressed gaps between intention and experience, engagement, detachment, plus active vs. passive perceptual experience ...
To further illustrate those ideas, i recognized points worth mentioning that parallel some difficulties with understanding abstraction ...
I’m not surprised that my work is often appreciated for different reasons than intended - a discrepancy caused by my emphasis on particular stages of the object's development ...
I mutilate my paintings ...
but i take great care to facilitate the inspired expressions, apply paint with methods that best articulate the ideas, and blend appropriate colors, materials, and images to maintain conceptual continuity ...
Then i proceed to aggressively obliterate everything that doesn’t seem essential to the original idea or inspiration by over-painting or eliminating it - not in an act of anger, but with an expressionistic impatience for irrelevance - only the best survives ...
I save the ‘good’ parts by applying a resist to preserve it ...
then continue to carefully add another painting over the top - peeling away the resist - analyzing the results, sanding and scraping the surface to blend elements, textures, and color ...
this process continues over and over until a unified balance is achieved between surface appearance, motivations, concept, and energy ...
Nature is my source of inspiration + improvisational expression is the idiom ...
Despite the brutality, force, and effort that goes into the production, i’m acutely aware of the fact that they are only thin veils of paint combined that bring the inspirations into the realm of reality ...
a delicate balance which i treat with utmost care and respect prior to final presentation; by smoothing, polishing, and waxing the object - and more recently applying a thick epoxy resin to entomb the content as though it were amber ...
Rather than recognizing the causality of creative and destructive forces in the development of a piece, viewers are more immediately drawn to its unique, mysterious, and appealing appearance - and that’s fine, except that it’s an object of art intending to communicate an idea:
- what does it mean...
- how was it made ...
- what school of thought encouraged it ...
Unfortunately, pedestrian habits numb curiosity; pretty, ugly, acceptable, tolerant, interesting, shocking, etc, seem to be the most common filters of engagement ...
Does it really matter if the work addresses [among other ideas]; the causality of nature, expressionism as a modern language, and our perceptual capabilities among vast fields of information - that it never relies on the immediacy of earlier abstract expressionism and that conceptual clarity is no more of a singular issue than pluralism is duplicitous - that simultaneity and specific energy quantifies reality ...
probably not - but it’s there to be read for anyone with that predisposition ...
Though i understand the scheduling disruptions as a result of Iceland’s eruptions - there’s a beautifully creative process occurring as a result ...
The Eyjafjallajokull (ay-yah-FYAH'-plah-yer-kuh-duhl) glacial volcano ... its magma is melting and blending rock at temperatures with force we rarely witness - marble is being created ...
Marble is admired for its durability, patterns, and colors, but its recipes also deserve appreciation. Shifts in the earth’s crust - tectonic plates - cause the seepage of molten rock to combine with tremendous pressure which melts limestone into large crystals creating marble - mixing with clays and other minerals produces varieties of color while their cooling rates and pressure produce patterns ... it is a metamorphic substance created by distilling and fusing conglomerates - it is a whole greater than the sum of its parts - including the unseen forces of nature and aesthetic beauty ...
