Friday, November 30, 2012
The title of this post is something Giorgio Morandi said, according to Barbara Haskell in her book on Milton Avery. I have been reading. Haskell also refers to Okeefe who said , ‘nothing is less real than realism.’ I have been dreaming about those words and working. I think some of the struggle has been about ensuring, to myself, that I have some skill and that is easy to translate into drawing correctly and perhaps drawing realistically. Diebekorn reminds not to believe in the first thing. I don't BELIEVE in today's beginning oil sketch, but I do know that I need to trust my memory and my sense of colour and not worry about creating 'feminine' art.
Friday, November 23, 2012
The plaster experiment has been gnawing away at me so I have kept reading and turned to other media, waiting. Everytime I walked through Hudson's room I would stop and look and feel the beautiful simplicity of the desk, the light, the shirt, the chair, the plaster walls. This morning, finishing Jane's Diebekorn book I began to think about the layers of D's paint and what he said, what he thought: 'the feelings, the desires evoked by the object can in this account, only be remembered by being successfully forgotten and represented in the disguise of successive different transcriptions. Concealing and revising, again, are the means of making meaning.' So, I sanded down the plaster, layers of revisions as an underpaint and took some charcoal to Hudson's room to sketch what mattered. I mixed my casein, pigment and limewater and painted in puddles of water at an image that doesn't look like it will. Obstacles, I love them!
Sunday, November 18, 2012
Behind blue brown barn presides
runner geese trip toe to pond's edge
can't help but follow the wrinkle
of fallen fingerprints
I balance on the green slice of bank
Lower the sky to them
umber trees are ivying up and over
Lay down the screen of reflector leaves
trembling in refraction
Sigh at youth's lemon-leafed sapling
wonder at its resistance
I am the tooth of the red acacia
gnawing urgently in scratches
Saturday, November 17, 2012
In response to a very theoretical but also provocative symposium on Involuntary Drawing: Art and Automatism yesterday, I did a bit of tangerine scanning and let it take me somewhere culminating in a book. The lecture featured the film of Matisse drawing. The characters hover around orange. And this morning as I was just finished attaching the velcro to the intentionless tangerine closure, Figgy called to tell me she had a pivotal poetry lecture and that it doesn't matter what the writer (artist) intends. We all make our own meaning, so there.
'Intentionless Tangerine' cover
P 3 & 4
Wednesday, November 14, 2012
Next I scanned the new image and printed it onto some cartridge paper. I worked without reference to the objects with a Matisse book opened.
Mail art sent to Theresa (the letter project)
Looking at Dorothy Eisner, finding an old collage and rereading Barbara Haskell's Milton Avery book, and borowing Jane's Barbara Rae drawings, reminded me that working in all directions from a range of sources, life, drawings, photos, imagination, monotypes, collages is the way I always worked before. I have been feeling so serious and so self-conscious, mailart the only place I feel I really play or experiment. License. Didn't I do my MA thesis on that? And besides aren't women born to multi-task? In the midst of all this theorising I went to a talk by Daniel Sturgis at First Site in Colchester. Interesting but in a funny way dispiriting. Only response is to fill all the moments of doubt with frenetic making. So here is some 'bad art' or in process art that might be the stimulus for the next thing. Jeni, from UEA would be proud with my 'messiness' (Jeni thought I tidied up my thought process, revealing only semi-finished ideas in my journals). Perhaps suffering in public is the honest way. Or maybe I shoud have a continual bonfire ablaze?
Sunday, November 4, 2012
Struggling with this idea of using the material our house is built of to say something. I am using recycled frames to create the armature for the 'fresco' to live in. The problem is I have to learn how to use the new materials. The first image is a wet fresco using lime water and pigment. The second landscape is the same plaster that I worked on top of with casein/ lime water/putty and pigment. I think you need to work wet, so spraying the plaster and that becomes confusing as the image is much darker, with endless ghosts. Then there's the issue of the image itself which is hum drum... We are having grey days! I think my confusion is pretty apparent and not sure the limited palette of lime-resistant pigments will allow me to work to my strengths!
I visited the Hepworth Wakefield earlier in the week and was utterly inspired. Her hospital drawings are full of ideas that I might be able to translate here, but let's face it this idea will need lots more application! http://www.guardian.co.uk/artanddesign/gallery/2012/oct/25/exhibitionist-art-shows