November
Sometimes I think every artist has just 7 or 8 pieces inside them and they just keep painting them again and again. Each instance they may look different but underneath there's the same structure, the same forms and the same drive. What Adorno called motif in referring to Wagner's repeated themes.
Wagner was the master of the unresolved phrase. Each section builds -- sometimes quite dramatically -- and we expect the final resolution but instead he switches the perspective and begins building another phrase toward an ever-receeding end.
What I most envy are those artists who have a fully rich vocabulary that is at once their own and capable of supporting endless creative exlorations. Too many artists fall prey to the words of their supporters and become attached to their own success. And then they rpeat the same work over and over again. Ad Reinhart said something like, "If it isn't worth doing over and over again it isn't worth doing at all." But that would be a very boring world indeed.
Sources may be as simple as a flattened cardboard box. Or as complex as a logical map of a software program. Both refer to complex spaces; the box is a model for its own assembly recorded as a series of die cuts. The software model is a rendition of interior space--socially constructed space, if you like. .
I regularly get the urge to create a simulacrum of three-dimensional space. This is somehow tied to a need demonstrating expressive gestures, expounding figurative elements and altogether forgetting the age in which we live and falling under the romance of illusion.
Drawings that attempt to occupy the junction of the body and the mind. To render and refer to physcial space and cognitive space at the same time but perhaps not in the same plane. Thus the imposition and the spearation of color; the overlay.
