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Posts Tagged ‘Quote’

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“The world concerns me only in so far as I owe it a certain debt and duty, so to speak, because I have walked this earth for 30 years, and out of gratitude would like to leave some memento in the form of drawings and paintings—not made to please this school or that, but to express a genuine human feeling.”

Vincent van Gogh, The Letters of Vincent van Gogh

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Thought a good way to kick off this week might be to share a few paintings from Vincent van Gogh along with a quote from one of his letters that speaks very much to my own feelings about my own reasons for doing what I do. These are not his better known paintings, though some of you may well know these pieces. They’re pieces that speak to my own personal inclinations. You might notice that most of these paintings have his ball sun/moon.

The idea of feeling a need to leave a memento behind that expresses one’s gratitude and one’s expression of self is one that is not foreign to me. I often think about how my work will speak for me after I am gone. Actually, if it will speak into the future at all and if so, will it be an honest reflection, a true representation of my voice.

I know that an artist, for all of the ways they try to guide the narrative about their work and life, have little control on the future.

What will be, will be.

Their voice might echo but it is always just that, an echo, a one-sided conversation from the past. Hopefully, what is said in that echo reverberates and speaks to someone of that future time so that they can fully understand and connect to the feeling behind it. And if so, with the hope that they might respond to that voice in some small way that continues to give life to it.

As I said, an artist has little control over this outside of doing their work with honest efforts and emotions. It’s obvious this was the case in the work of van Gogh and we continue to have a conversation with his echoes from the past, his mementos of gratitude.

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To have a sacred place is an absolute necessity for anybody today. You must have a room or a certain hour of the day or so, where you do not know who your friends are, you don’t know what you owe anybody or what they owe you. This is a place where you can simply experience and bring forth what you are and what you might be.

–Joseph Campbell

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I was thinking about my studio and how it shapes the work I do. It’s size sets some limitations on how large I can work and I sometimes wish I had twenty foot ceilings where I could do massive canvasses. But that mild complaint does little to take away from how wonderful a space it has been in which to work on a daily basis.

It is comfortable and warm with views that look out on a very private yard with mature trees, several huge rhododendrons and a constant parade of wildlife. It has room to work with a large, well appointed basement for framing and prepping my surfaces. One of the three bedrooms serves as a library and the other two hold paintings and papers. The stone fireplace that I face most of each day in my main space gives me an elemental, grounded feeling and the light that streams muted by the trees provides a coolness to play off the warmth of the space.

The seclusion it offers is all I could ask for. My large front window looks out on the driveway that curves gently in and whenever I see anyone coming in, it almost feels like an affront, like an invasion into my private world. A private world that is an extension of the internal one that provides the landscapes I paint. My studio complements that inner world so well, creating a sacred space for me to hopefully bring forth what I am and what I might be, as Joseph Campbell points out in the quote at the top.

It might be the one place on this earth where I feel completely at ease. Not always, but most of the time.

I thought I’d share a shot today of the studio, my sacred space, in all its cluttered glory. It has come to reflect me and I, it.

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The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.

Marcel Proust

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This painting is titled To the Fields of Fortune. It’s one of those pieces that I to which I personally respond strongly. Maybe it’s the mood I feel from it or simply a chemical reaction to the juxtaposition of colors, forms and contrasts. Who really knows what truly causes a visceral reaction to art or music?

But the meaning that I attach to this painting has some influence on my reaction. I call these type of paintings my Acres of Diamonds pieces alluding to a story that I have replayed here a few times over the years. It is basically a tale of a farmer who sells his land and heads out, seeking to find his fortune in diamonds. He travels all over for years in his fuitle search, failing at each attempt until he ultimately takes his own life. Meanwhile, his original homestead turned out to be the location of the biggest diamond mine in Africa, where this story takes place.

What he sought was right beneath him all the time, if only he had taken the time to see what he had at hand.

And isn’t that too often the case with many of us? We believe that the grass is always greener elsewhere, making us think we need to seek far and wide when what we really need is with us, sometimes within us, all the time. As the author Marcel Proust states above, the real voyage of discovery comes in having new eyes to see what is already all around us.

There are diamonds waiting for us to simply bend down and pick them up, if only our eyes will see.

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This piece, along with a few other newer paintings, will be headed to the West End Gallery within the next few days.

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Busy today getting things around for a delivery tomorrow to my friends at the Kada Gallery in Erie. But there’s always enough time to consider a Lawren Harris painting along with a few of his words.

He’s right. Art is long. Life is short. He mentions art in the form of a picture but I believe any true artistic creation can become that highway to a universal feeling, one that lives on eternally in a  location somewhere beyond all we know.

Hmm. Think about that, will you? I got work to do and will think about it as I work.

Have a great day.

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A number of artists, take Picasso and De Chirico for examples, talk about about trying to maintain the mind of a child in order to create art. I think there is definitely something to that.

I know that I feel best about my work when kids are attracted to it and know a work is at its best when a kid gives it their approval. They look at it without preconceptions and biases, judging it solely on how it speaks to them personally. They often can read the emotional tenor and meaning of the work without needing explanation of any sort. They seem to have a built-in ability to read the innate symbolism of art.

How to stay in that dreamlike state, that mind of a child? That is the real question and I don’t know that there is an answer. Maybe not trying to answer the question is part of the answer. Just do the work with the trust that you are being open and honest without condescending your message to anyone. Perhaps then the work may approach that goal, might speak with and to the mind of a child.

Or so I hope.

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“Living right in the heart of Tokyo itself is quite like living in the mountains – in the midst of so many people, one hardly sees anyone.”

― Yūko Tsushima, Of Dogs and Walls

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This is a new painting, a 24″ by 24″ canvas, that was inspired in part by the older painting I showed here last week, Raise Your Eyes.  Unlike my normal Red Roof structures which have a closed off feel without doors or windows, these cityscapes are all doors and windows.

All eyes, ears, and mouths.

But as the late, esteemed Japanese writer Yuko Tsushima described in the words above, even with the presence of so many buildings filled with so many people, there is often a sense of anonymity. Perhaps it is the scale of the buildings which sometimes seem like looming mountains that overshadow anything beneath them. Or maybe it is the sheer number of people, so many that the faces and shapes blend into an amorphous blur in passing.

I’m not sure exactly what it is that gives this sense of anonymity but I find the paradox in it fascinating. Maybe that’s one reason why I enjoy painting these pieces so much. The main reason I believe is in the focus required in putting these together. Starting at the bottom of the canvas with no predetermined endpoint in mind, the picture rises slowly with each new structure leading to the next, all the while trying to ascertain how each new move changes the weight and feel of the whole.

Every stroke is a solution to one problem and the beginning of the next.

For me, the result is kind of like looking inside my head. It resembles a jumble, sometimes sloppy and tangled. But somehow, through the mess, it is always trying to create a sense of wholeness, of rightness.

Trying to find order in chaos.

Sometimes, I find it. Sometimes, I don’t.

I am still not sure this painting is finished. I am calling it for time being Around the Clock but for a time had considered calling it Witnesses or Hit and Run. I saw it with a body on the pavement of the intersection at the bottom right of the piece. and maybe a silhouette or two in the windows that look out on it. But I am not sure that I want to add that narrative thread, not sure that I want to change what I am looking at now in that manner.

So, I will dwell on it for a bit before I do anything. Or don’t.

We shall see…

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People have the idea that an image must stand for something else, that the real meaning needs to be described with language. Instead it is the image itself that is the meaning.

Mark Ryden

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I came across the quote above from contemporary artist Mark Ryden and it struck a chord with me. So, often an image has a feeling to it  that is beyond words that adequately describe it. I know I have sometimes written about a piece of  mine and even though I have tried to fully describe how it strikes me, I often feel that the words fall well short.

Sometimes you just have to let the image be what it is.

Now, to be honest, I don’t know a lot about Mark Ryden except that he is a contemporary big name artist that works in the genre of Pop Surrealism. His work is sometimes also called Lowbrow which is a movement that began in LA in the 1970’s based on underground comix, punk music and other fringe pop references such as the tiki and hot rod cultures of the region. You may best know his work from his album cover painting for Michael Jackson’s Dangerous.

His work is engaging and appealing on many levels with recurring themes that run through the work. It is rich in symbolism though I think there is so much ambiguity that one could get lost in trying to decode many of the paintings. Which makes his statement about the image itself being its own meaning even more understandable.

I also came across another quote from Ryden that hits close to home for me: I believe if you follow your heart and do what you love, success will follow. If you enchant yourself, others will be too.

It’s something I have been saying for many years now. The biggest challenge as an artist is creating in yourself an excitement with your own work. If you are excited– enchanted in Ryden’s words– by it, more likely than not, it will excite others as well.

I can see where Ryden would be exchanted in his own work. It is something to which any artist in any field should aspire.

 

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Practically all great artists accept the influence of others. But… the artist with vision… by integrating what he has learned with his own experiences… molds something distinctly personal.

-Romare Bearden

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This morning, I came across this quote from Romare Bearden, a favorite of mine. It reminded me of a conversation I had with another artist last night at the opening for the Masterpieces exhibit at the West End Gallery.

This artist, who has a formidable talent level that was obvious to see in their past work, is in the midst of breaking loose creatively in a way that is establishing a distinct voice. It’s exciting to see the work blossom, thrilling to see an artist take their toolbag of acquired skills and transform them into something unique and personal, something that moves them out and away from their teachers and influences.

It is interesting to witness this artist’s enthusiasm for the new work balloon in a way that creates even more enthusiasm. Each new piece pushes the next forward and forms more and more energy. And that personal voice becomes stronger.

It’s a rare thing to experience and a hard thing to describe. But it is certainly fun to watch when it does happen.

To go with the Bearden piece at the top, Jazz II, from 1980, I thought I’d share the Miles Davis classic So What. Seems like a good way to start yet another dark gray Saturday.

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Art has always been my salvation. And my gods are Herman Melville, Emily Dickinson, Mozart. I believe in them with all my heart. And when Mozart is playing in my room, I am in conjunction with something I can’t explain — I don’t need to. I know that if there’s a purpose for life, it was for me to hear Mozart. Or if I walk in the woods and I see an animal, the purpose of my life was to see that animal. I can recollect it, I can notice it. I’m here to take note of. And that is beyond my ego, beyond anything that belongs to me, an observer, an observer.

–Maurice Sendak

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Amen to these wise words from the late great Maurice Sendak.

Thought it might be nice to share some of his work beyond Where the Wild Things Are. It is equally as wonderful.

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The purpose of my work was never to destroy but always to create, to construct bridges, because we must live in the hope that humankind will draw together and that the better we understand each other the easier this will become.

Alphonse Mucha

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You most likely know the work of Czech painter Alphonse Mucha (1860-1939) for his extremely popular posters that set the style for and were the epitome of the Art Nouveau movement. It was beautiful and graceful work much like the piece shown here on the right.

That was definitely the extent of my knowledge about Mucha’s work. And that alone would be a worthy enough achievement for most artists. But his greatest work may well be his monumental Slav Epic series.

The Slav Epic is comprised of 20 large works that depict the history and the mythology of the Slavic people. It was painted over the course of 16 years with the aid of financial support of American industrialist/philanthropist Charles Crane. The works are all painted on a grand scale with some of them measuring 20 feet in height and 25 feet in width.

They somehow survived Czech occupations by both Nazis and Soviets who both saw the work as being counter to their ideologies. Mucha died soon after being interviewed by the Gestapo in 1939. The paintings are now in possession of the Czech government who are in the process of creating a museum to permanently display this magnificent work. I am sharing a number of images below that show them with viewers so as to give  an idea of the sheer scale of the works.

Pretty amazing. Good reason to get to Prague.

Alphonse Mucha- Slavs in Original Homeland

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