It Looks LIke Rain

This too went through a big change recently. Maybe summer’s are for reflecting on what one’s done in the gray months. ? Particularly as summer gets one out of the house more, less navel-gazing time.

… I recently finished taking a poetry class with Frances McCue at the Hugo House, and have been taking to heart the idea that perhaps some things are “straight” in a piece, while others are more “out there.” In other words, if a poem has a fair amount of stream-of-consciousness leaps, it may need some anchors to ground the reader. … I think that concept has leaked into my painting awareness. This may be why I removed the woman’s bunny ears (in my previous post), and made adjustments to this piece. The figures here previously had two bald heads, no clothes. There was less definition in the houses, and much less sky. The sky was also filled with red flowers. This is 36″ x 36″, acrylic on board.

(SOLD)

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Portrait of a Lady

This portrait has gone through some changes of late. Started out as a feminine face with rabbit ears. I lived with it like that for awhile, even posted it here and there. Then I “re-saw” it. I needed to remove the ears, and see who was hiding under that disguise.  This lovely face emerged in a plain yellow ochre background. … Then the background went through some big transformations, including curtains at one point.

I think she’s done.

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House on Fire

Just starting a new phase of work, larger and mostly on unstretched canvas. My plan is to get looser with what I’m doing, not so careful, and to spend less time revising and more in free creation. “Freecreation = the act of creating freely, with no psychological, emotional or overly-intellectual encumbrances.” I just made that up.

What continues to startle me is how much visual information seems to be stored in our subconscious and how with some effort we can empty the contents in a form that we recognize, and can reckon with, perhaps. And without going through the act of translation that writing seems to require.

And it’s not just the quantity of images, it’s their potency, and the messaging system. I can’t explain all of my pictures or what they mean to me. I hope they register something,  associations, memories, similar types of feelings, emotional situations — something familiar to others. … I guess that’s not the original purpose, tho’, I have to admit that.  I think most of the artists I admire are trying to work out something personal on the page/canvas, whether unwittingly or not. … Certainly, of course, some are working out technical challenges, or challenging the art that has come before, or responding to something in their environment with an intentional message, an agenda, perhaps. … But I have to let sink it what I’ve observed, almost as a wash-over, since I have found that if I set out to make a certain kind of art, or paint a certain message or story, I cannot do it. I have to let go of whatever measure of control I think I have, and let the images happen.

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