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Abstract thinking. I’m thinking art, but I should probably be a little more concrete  and begin with a standard definition: 

“Abstract thinking is a level of thinking about things that is removed from the facts of the “here and now”, and from specific examples of the things or concepts being thought about. ... Thus, for example, a concrete thinker can think about this particular dog; a more abstract thinker can think about dogs in general.”

Now, this is hilarious. I looked for a concrete definition of abstract thinking. But I will elevate myself and ask, “Why is abstract art called abstract art”? Perhaps an abstract painting is not concrete or specific. It may be the visual expression of an idea or mood. Or, it may be driven by a unique process, approach, or application. Picasso thought that, “There is no abstract art. You must always start with something. Afterward you can remove all traces of reality.”

In other words, abstract art is not arbitrary or random. A gallery gal recently related how she had little regard for art that was simply poured and purely accidental. She explained that a skilled abstract artist applies design principles to her art. And this knowledge may have even been acquired through a traditional, representational art practice or instruction. The other day, while strolling through a museum with my sister, she recalled an art assignment in college. She had been instructed to take a famous painting of identifiable objects, figures, or scenes and use the structure of the traditional painting as a guide for creating an abstract painting. Just like Picasso.

And, the flip side is also true. Abstract design principles…balance, contrast, direction, rhythm, and repetition… should be evident a representational painting.  I also recall having been told that one way of judging the design of a representational painting is to turn it upside down and evaluate its abstract integrity. 

In my recent paintings I intended to foster the relationship of realism and abstraction. I hope that my new paintings bridge the appreciation gap between “realistic” art and abstract art.  That is my abstract thought. 

You are cordially invited to view my paintings at the Square i Gallery, 110 N. Harvard, during the month of November. The opening reception will be Saturday November 2, 6-9pm. 

A Statement. Sort of. As I was in the midst of painting my new series of urban paintings, I was also reading Lillian Boxfish Takes a Walk by Kathleen Rooney.  As Lillian walks through Manhattan, she contemplates her life, considers her attitudes, and observes her city. At one point she reflects on her friend’s urban photographs. They appeal to her because they have people in them. Her friend’s work “pulses with rhythms and textures…it’s of the city.”  

This description is my aspiration. I want to express, through my paintings, the vitality of the city. Human beings are inherent to city life.  From my artist point of view, the buildings and pedestrians are integrated. I have chosen to paint my series with convergence, color, and chaos in mind. I will leave the challenges of civic issues to the sociologists, activists, and citizens.

In order to achieve continuity between the architecture and the actors, I mainly used round edged filbert brushes rather than hard edged flat brushes. The edges in these paintings are neither measured nor ruled, but painted intuitively. Some are soft, others are non existent and created by the viewer.

My photo references are not all that interesting. They would probably not find their way into any of my photo albums. Their lack of pose, vividness, or event are not the stuff for Instagram. But, these same images challenge me. I love the authentic figures. I enjoy making them and their surroundings significant by applying exaggerated colors and contrasting darks and lights. 

Not living in a city, I find it complicated and mysterious. Hidden places and hidden agendas. Random and spontaneous. So, perhaps, I am working something out. I will leave my fascination with this jumble to the psychologists.  

My paintings will be displayed with those of another artist, Steven Rushingwind. Steven and I are excited to present new work that reflects our unique painting styles and expresses our individual tales of the city. Our exhibit, Two Tales of the City, will be on view during the month of November. If you can, join us at our Artists’ Reception Saturday evening, November 2 at the Square i Gallery. 110 N. Harvard, Claremont CA. We would love to see you!