Minimalism (offering no more than what is required or essential) is similar in nature to that of meditation. In other words, the focus of attention is directed towards the simplicity of 'that' which is currently occupying the space (often times, the 'space' of which I speak is located within the distance between the two ears). While looking at these recent paintings, I could very well be mislead by the 'influences-of-thought' attempting to solicit my brain-workings in 'this' direction or towards 'that' goal. But . . . what if I were to simply look at these paintings without all the thoughts that I so often attach to the influential 'button-pushing' of a 'this' or a 'that' . Hmmmmm . . . Interesting. I appeared to be moved by these recent paintings. Although, I do have to admit, I have purposely refrained from allowing them to move me into thought. With that being duly said. . . OMMMmmmmmmmmmm
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In Context
In Context. My new series has been the culmination of both thought and spirit. I think I have been working toward this for a while. It is called Out of Context. I painted seven paintings before I came up with a title.
The paintings came more easily than the title. In this series of paintings I unapologetically kept my resolve to avoid cliche, pretty, and nostalgia. I simply wanted to focus on the people in our midst. So what better way to do this than to ONLY focus on the people? Remove everything else. Get a nice sense of space.
To clarify my direction, I considered the work of significant artists who painted people. I saw that Edward Hopper achieved his focus on people with stark, minimalistic backgrounds. But his paintings are about solitude, emptiness, and the complexities of intimacy. I realized that I prefer to portray the commonplace connections and obliviousness in our midst. My paintings ask the viewer to notice everyday humanity.
I have always been attracted to Ernst Ludwig Kirchner's paintings of people on the street. I admire Kirchner's expressive depictions of the pairings and posturing in his world. Yet, as colorful and fanciful as these paintings are, as with Hopper's work, I feel sadness. In searching for an explanation, I found this quote regarding one of his paintings…"Kirchner has violently heightened the colors of this urban scene, depicting its figures with masklike faces and vacant eyes in an attempt to capture the psychological alienation wrought by modernization." In contrast to Kirchner, I wanted my paintings to express my belief that, amidst the chaos, we do have genuine attachments and authentic moments.
Surprisingly, some abstract paintings informed my series. No people at all… just compelling space and composition. I conjured up Mark Rothko's color fields, Sam Francis's and Morris Louis's white spaces with marks and drips on the borders. I rode on the tails of their courage to gather up my own.
So I embark on this venture, not knowing who will enjoy these paintings, but somehow hoping that the paintings will eventually find them.
