17 October 2021

Van Gogh at the optometrist.

LLD


A real curiosity done sometime in 2019, maybe a July painting of a winter storm though it's hard to tell. But I came across it the other day and it started a small dialogue in my head.  

To be fair, it is a bit of wreck if one judges it by technical virtuosity alone, which of course it lacks in a conventional sense. But when I saw it again a long while, I was surprised at how well it conveyed the feeling of stormy clouds over the dark mysterious sea. Though I don't remember most of these small pictures, I do remember this one because I couldn't get the picture unified for the longest time until out of frustration, I took a larger brush and began sweeping it with circles as if I were using a broom. To my surprise, it worked so I stopped, and just let it be. Curiously, what holds the picture together are the pink bits of open sky in both the right and left hand corners. Like fingers, these bits of pink  grasp the large form, and they hold it firmly in place.

The effect of the picture is immediate. It's in your face, whether you like it or not. It seems flat, as if the massive and menacing clouds have been pressed into time, immobile, yet full of ruptured energy. It might even appear 'ugly' at first. But as Baudelaire once said:

"All truly great and original paintings often appear ugly at first". 

He could have been speaking of Van Gogh, but also Stravinsky. And I feel confident enough that he could be speaking about this image too. 

I want to paint things truly alive, almost breathing fire. In front of a picture, I wonder if I don't just desperately desire to feel that 'poof' of a feeling, as if one is at the optometrist when given the glaucoma test. In a fraction of a second the machine punches out air at high speed against your eyeball testing for pressure on the cornea. In the painting above I want that intense sensation thrown at the viewer in the same way. 'Poof', either one gets it or one doesn't. If one doesn't then either the picture isn't successful, or the viewer isn't. 

If I had not painted this picture, I believe I would still approach it with some surprise which is the only way I could express it. And though it was done in a decidedly European manner, it feels like an image which might have been done by a Japanese Zen monk who also happened to study Painting in the South of France! It shows an unusual aspect of Nature but from a very particular perspective; close up, and cropped. It doesn't manifest Concept (anathema to Zen) nor a conventional viewpoint. Yet it is a natural subject. It is a set of clouds mushrooming over a sea at dusk in an almost miniature scale as if chosen by a 75mm telephoto lens. It possesses a curious abstraction, maybe a bit too strange for most people's taste though. It reminds me of the music of Thelonious Monk; off kilter, and in your face, primitive and primeval, where technique is disguised as an autistic child.
 
It also made me think about what constitutes "being a painting". In this age of contemporariness, is it a mere momento? or perhaps a souvenir, or just out of date? 

But if an image conveys a feeling of the subject matter (the motif) like Monk, then, is it not at least partially successful? When I use the word feeling in discussing painting I never stray far from thinking of Vincent Van Gogh. We love him for his beautiful, terrible, and overarching uncontrollable feeling, as if he lived within an earthquake. 

He also seemed to have lifted the verisimilitude off the three dimensions of a theatrical stage by compressing them into a two dimensional drama on canvas.

He was a slave to his unabashed devotion in giving viewers his own sense of reality in pure and emotional terms. So though I don't compare myself to him, I do hold his work up as a model of how it can be done. It has been that way ever since I first read his letters at the important time when I was beginning to paint. He was certainly my greatest influence. 




12 October 2021

Pantone's Yellow Submarine!

 



This top image is a cropped detail from a painting done last week. I wanted to look at this simple space where the two colours meet. It's very small because the painting itself is only 25 X 20 cm

I am just crazy about this set of colours for no other reason on earth than the pleasure they offer me. What else can I admit? I have loved this rich yellow since I was a kid, and long before I began using Crayons. It still evokes in me that fuzzy feeling that I hope others might also carry in their own dreamy hearts. Although I do absolutely hate the hyperbolic (really!!!) I would say nonetheless that it could very well be a string in our human DNA to love this colour! 

But it should never be used in a painting in its pure form as it would be too strong, like ingesting too many tarte-aux-citrons at a lengthy Sunday lunch. 



This colour, like for all colours on a painting surface, needs to be ('broken') or it will likely explode. 

Somehow, I remember that a Pantone Yellow had been declared the colour of the year for 2021. Not sure how they decided that but it shared the honour with the company's Ultimate Grey as well.



What really interests me about this news is that they present these two colours together. This is a very painterly decision on their part and unusual because for me, I only really see colours in pairs, as in complimentary pairs. It is wonderful that they present both their Ultimate Grey and Pantone Yellow as an ensemble. 

nothing special, Dieulefit, August, 2012, oil on canvas board 150 X 150 cm

This picture above was painted almost a decade ago. It was conceived around these two colours and it reveals my own great affection for Yellow and Grey. But as a painter I prefer them both slightly broken with a little of each infecting the other. It marries them and allows for a harmonisation. The grey here is rather warm so that it compliments the 'cool' yellow because in the world of Painting, warm always compliments cool, and vice versa.

It is clear that this Pantone Yellow is cool, cold really, as this Ultimate Grey. Personally, I imagine that maybe the cooler hue of all colours almost always seems to work better for any commercial application of these bright pure colours. They tend to shout out clashing and attracting attention at any cost, which is of course the purpose of advertising, though not always aligned with pictorial artistry.

Concerning the small detail (top) the 'grey' sky is in fact a pale warm grey transition between the yellow to the faint, pale Prussian Blue higher up barely perceptible. And because it was painted at the beach in natural light, the harmony was my idea, my colour scheme, and it came from observance not convenience. It was an empirical choice.

And (below) still another detail which includes a bit more of the painting, while further below at bottom, the full painting from which they all came.




Evening Prayer Brunswick Heads, 5 October, 2021, oil on canvas board, 25 X 20 cm


08 October 2021

IKEA and a bachelor life in Australia

                                                                                  EGF



KWH


Here are two old pictures which I re-worked a few nights ago at the beach. I had brought them there to see if I could 'make something of them'. I didn't want to 'repair' them in the studio because I needed the beach, the sea, and the sky, something to cling onto with colour and light even if to wasn't the same. And also I knew I would have a palette already made, wet and messy; a painter's dream.

I have been organising all these paintings, (the entire  lot), over the past week because they had not been properly filed chronologically. In fact, not just my kitchen but the entire house has become a flop house for these things. I had chosen to store them here in the house because it is cleaner and receives warmth in the winter months preventing mildew which is a huge problem in this humid climate. The separate studio is problematic in this regard.


Over four + years, these studies have been filling up the IKEA bookshelves in my living room. But before they get there, they need to dry so they lay in shoe racks in my kitchen where the sun pours forth in all seasons. Then due to laziness on my part they begin to inhabit every horizontal surface available until it drives me crazy enough to put them away every so often. I make so many of them most weeks they seem to multiply like mice. So I needed to gradually displace the books with the paintings in the IKEA shelves in the living room. Though the books are not happy with this arrangement the paintings decidedly are. What can you do? It isn't difficult to understand why I am a bachelor. 






Thus, having re-organised all the paintings, needless to say, I Have found many, (many older ones from 2017 and 2018 in particular) that are inferior for a variety of reasons. Mostly though, because they are just not very good! they are not 'realised', is one way I can describe it. They might be undeveloped, or the sea is wrong, or the sky is all wrong, or the light has been pushed into a dark cave; any number of reasons really. When paintings don't work, they don't for any number of reasons which a discerning eye can readily see. But when paintings work, they work for a multitude of often discreet and subtle reasons which may not be visible to many outside of the world of Painting.

In this case of doing so many each week they just feel like 'exercises' and I probably should not really share them to polite society. Of course, the problem is that I make a lot of these paintings as exercises. There are certainly over a thousand by now but I haven't yet counted them all.

So the point is that I don't go out to the beach most evenings to make masterpieces but to just paint. Luckily though, they are sometimes masterpieces, small and compact but it's rare. I go out there to feel the wind, watch the waves, see what the sky is doing and I mix a palette. That part of it is pretty simple and quite agreeable. The work too, can be simple and agreeable most of the time except when it isn't. 

Yesterday, I thought to put a few of these into the boot of the car with the idea of taking them to the beach. I figured that I could work as usual on some new ones, then at the end when I had a palette full of colours I could put the pictures up to see what I could add, 'correct them', investigate possibilities.

These two above, are the first two 'trials' and I was quite happily surprised by what it felt like to come back into a dry painting with fresh new oils. They are not great by any means but they open up something a new avenue for me. Painters like that.

07 October 2021

a field of flowers each night

 

Evening Prayer Brunswick Heads, 5 October,   2021, oil on canvas board, 25 X 20 cm.


Evening Prayer Brunswick Heads, 5 October,   2021, oil on canvas board, 25 X 20 cm.


Evening Prayer Brunswick Heads, 5 October,   2021, oil on canvas board, 25 X 20 cm.


To my great surprise, these small studies rose up and out from the sea as if they were a field of  daisies, bellflowers, and violets. It made a magnificent 'bloom' last night, but for some reason I almost resisted going out to work. I had been in the studio in the afternoon and found myself full of doubts about the motif.

"What more I could generate from the this motif?"

It may have been precipitated by a remark a friend had made earlier in the day when he said,

"You should move on from these little paintings and make your big ones."

I knew he liked the things done in the studio. I was not really bothered by the remark except that I had had a difficult session the previous night, one which pretty much said the very same thing to me. Its one thing when some else makes a critical remark about your work (or life), but another thing altogether when your own work speaks directly to you through itself!

But in the end, all I needed was a great session, an evening 'bloom' blushing wildly for me alone to replenish my curiosity again for this motif. After all it is for me alone, and similar to this Blog, maybe the results will please others, but the pleasure of ‘doing’ is all mine alone. 


04 October 2021

Erik Satie meets Einstein as a pear





I have been learning a few of these pieces in the last year. It's an exercise in patience, something I have developed studying music late in life. They are not difficult at all except that to memorise them requires diligence, a cousin to discipline. But I am getting there, the body (fingers) has a wonderful memory mechanism almost oblivious to what goes on in one's head. Play them play them play them is the only way up the mountainside!

In many of Satie's small compositions there is no indication of time or measures. The small black and white notes are only held together by a cohesion of the harmonic line. They appear as small birds alighting briefly on telephone wires, flitting upward and dropping below seemingly at random in the winter sky. 

For Satie, like Einstein, Time doesn't exist, it was created by Humankind to create order out of a dis-ordered and natural world.


The Buddha-wise-guys in the East also share this understanding. Time is but a concept to measure and quantify passing moments. 

Time for a composer is a way to arrange a framework within which the musician and singer can operate, and unlike our ticking clock it is arbitrary. It is a composer's choice, a kind of map with which to navigate a musical idea. 

Here is a remake of the original Parade for which Satie created the music. A lovely 'carte postale' from some of the infamous Avant-garde. And it is interesting to note that it was made during a time when French, British, Belgian, American soldiers, and other poor souls from colonial outposts were being sent to their deaths daily in the first World War, a war which they all, at the time, imagined to be the last great war.

More to be revealed.





01 October 2021

Cézanne meets Mondrian meets Rothko



This morning I was looking at a catalogue for an old Cézanne watercolour show and I was reminded of something I have often felt when looking back on my early years in Aix. 

It was difficult for me as a young painter when just starting out to spend so much time trying to learn from the late work of Cézanne, his watercolours in particular. They are unfinished and abbreviated, and trying to understand them might be like a young student of Mathematics stumbling upon a set of cryptic notes from Einstein at Princeton. 

I have seen this difficulty with many other painters as well. I saw that it is a perilous path to jumpstart an influence solely pushed by the later stages of a painter's work (evolution). 

Of course every artist is different but I definitely wouldn't say this about Vincent Van Gogh's work. He is an exception, and exceptional. One could learn from any chapter of his life's oeuvre. The early work revealed his scrabble to grapple with how to draw, then to discover the surface of a picture plane. His later work is so full of harmonious colour that one could learn everything from just looking at him alone. But he is very unusual, (remarkable) both as artist and teacher. Of course, there are no real answers to any of this because it's my own observation, regarding my own path. 

The problem is that in this case with Cézanne, he had already painted most of his whole life before arriving at these watercolours. And possibly, it may have been his austere drawings done throughout his working life that actually prefigured the spare watercolours later on. There just isn't enough information in these late things to glean, and forge a pathway forward for a young painter. By copying these things, work would just resemble 'late Cézanne' and wouldn't contribute to the student's originality.

I can see the beauty in this abbreviated watercolour (above) but I cannot see that it can help me by studying it. I suspect also that many of these 'unfinished' drawings and watercolours were simply just left for a reason only known to Cezanne. He certainly could have gone further but he stopped, why? Only he knows, but maybe he has cited reasons for it somewhere in his letters. Yet it may be that he just stopped because he liked what he had achieved, and he didn't want to ruin something which he might want to remember later on. Who knows? I am not scholar but a student of Cézanne.

The same goes for Mondrian, whose work at the end of his life is barely recognisable compared with his earlier things done as a young painter. Trying to learn something from his work at the end of his life would be extremely difficult and a trying experience. Maybe not impossible, but Olympian in any case. Why bother? 

I think (in my own case regarding Cézanne) it's because as a student painter, it was like I was trying to read the last chapters of a book without first knowing what came beforehand. So as a result, I was merely copying a style, (for lack of a better description), and I was bypassing the messiness (and failure) of all the work that everyone needs to slog through  in order to discover their own originality. Like anything, it's a lot of pure labour.

Fortunately, I was never too crazy about Cézanne's watercolours so I didn't spend too much time with them. They did not appeal to my messy and aesthetic nature. 

Regarding the picture below, I would ask; how could a painter learn from this Mondrian? It's not rhetorical, it's a serious question. What could I take from this late work of Mondrian? And what I could make out of it, and into something of my very own? Maybe something, but I fear I would be like a marathon runner who jumped into the race at the 20 mile mark.

I actually do really appreciate this particular Mondrian though it wasn't always the case. I don't understand it, but its power and emotion appeal to me for many of the same reasons I love Russian Revolutionary Art. The emotional impact here seems to deliver like squeezing water from stone.

I don't have answers to this but of course I like to throw out ideas. It seems to me that that Painting had come to the end of the road by early part of the 20th century. Painters, as they still were in those days (unlike today, where whole different means have opened up to express an idea, or a feeling) were desperate to create something wholly new. Many of them went into the realm of pure feeling, while others locked into the way of design and science, even. 



Of the following Rothkos below which I clip from Instagram, I find two of them quite beautiful but I couldn't imagine trying to learn from them despite all my admiration. I have come to the Rothko party so late but I do now have a better inkling into what he was trying to attain through colour and design. It is curiously both the SAME, but also the OPPOSITE of the Mondrian above. It is both 'designed' and 'emotional'. He seemed to be after a personal mood arising possibly from his need to level out his own depression. That's what many artists of all kinds really do. 

I like the tremendous JOLT of colour in the piece below. It speaks of the earth and sky but also of man's soul which might need Art to survive. The dark one below is another mood, another day, in Rothko's search for escape or maybe redemption? 

They say something, but what? Many people would say that it doesn't matter, as long as it speaks to someone, anyone. 

But to return to where I began, can a young painter on his/her path of Painting learn from them? And how? (still no rhetoric)







And below, a painting by Mondrian done around the time of his transition into his late work (like above). It certainly possesses a Cubist sensibility, but it's still mystery how one could learn from this work.

More to be revealed.



 

29 September 2021

Venice, 18 September, 1986


Venice, 18 September, 1986, oil on canvas board, 25 X 20 cm

The following is another entry from my diary from the year 1986.

For a number of years I went to Italy, first to both Siena and Umbria to fly and paint, then on to Venice in September and October. I found this entry the other night fascinating because, though I didn't really understand at the time, I was only ever drawn to the misty, the hazy, the shrouded fog and the uncertainty of transitional atmospheres. Strange that it took me so long to see this preference when it is so clearly evident to me today. 

This study is the one that I describe in the following diary entry. It makes sense that I found my way to a series of twilight studies here at Brunswick Heads, N.S.W. Australia, so many years later.

Venice, 18 September, 1986

My spirits are lifting day by day. I feel like a climber who makes his way ever so slowly up the backside of the mountain while the summit is still hidden from view. However, I am finding my way very slowly, each day the image comes more easily. This morning, I have found my way into some rather abstract visions of San Giorgio at sunrise. Half-hidden in the purple/ orange haze San Giorgio looms over a greenish orange sea. Needless to say, I enjoyed the foggy atmosphere, maybe it’s what I really need in the end. Of course, it makes me think of Monet and Turner who were both in the bosom of this visual feeling. I shall not be afraid of this influence. Increasingly these past five days I have been wondering to myself what it is that I really want to do here? I am not at all interested in replicating the reality which Venice presents to the world… the wonderful, unique details of windows, balconies, door steps. etc, etc, etc,,, It has all be done a million times before by very competent painters (and not) than myself. What I see are images which lurk between the off-hours of twilight and daybreak; images born from misty boundaries between stone and sea. There are fog-filled days when nothing is what it seems and these are my moments of bliss.


My goodness, do Venetian women have beautiful legs! I should invite Isabelle here by the end of the month or I shall go mad, or, (I shall go madder) no matter. I go through days without speaking any English which is interesting, and I like it. My Italian improves radically on these trips, and I learn also, the art of silence.





27 September 2021

memory and vision, then and now

                      LGO                                                                                                           

Evening Prayer, Brunswick Heads, 5 February, 2017, oil on canvas board, 25 X 20 cm


NGA
Evening Prayer, Brunswick Heads,  26 January, 2017, oil on canvas board, 25 X 20 cm


These two studies date back to the beginning  of the series in 2017 when I had approached the project with all the sensibilities of an Expressionist painter. I like the one at the top very much because it reminds me of where I would still like to go. The other one below it,  is just so so. They are pictures done more with memory and sight than with presence and vision. But that's where I was when I began painting again from Nature five years ago. It had been a long, long time since I had worked from a motif and I had to learn anew how to use my eyes again. I do appreciate them but I see how far away they are from what I am doing today.

GLA
Evening Prayer, Brunswick Heads, 20 September, 2021, oil on canvas board, 30 X 25 cm

                                                                              LVP
Evening Prayer, Brunswick Heads, 20 September, 2021, oil on canvas board, 30 X 25 cm

25 September 2021

Usual and unusual, elastic and electric, Japan!


Frôler, August, 2013, oil on canvas, 150 X 150 cm


This painting was done back in Dieulefit in August of 2013, a year after the small gouache shown below. 

I was in a particular kind of groove, I think because I had just gone on two trips to Japan which gave me a jolt of elasticity. Maybe electricity too, but really, I was pulled and pushed to extremes both during, and after these trips. Japan has that effect upon people. I only met one person whom I know who didn't like it. But he was a sad and angry Parisian. 

Since I went to Japan I have never quite been the same. It affected me, had a strong effect upon me and also re-enforced feelings which I have harboured for decades regarding the world of Painting. It released this energy inside which allowed me to vault over so many ideas I had learned from European Art History which I had stored like a squirrel somewhere between my heart and mind. Vertical space, horizontal space, space used and unused, too much, or too little! Japan seems to be a culture of space, the reverence for it, the protection of it, the embrace of it in all its spiritual emptiness.

It seems to me that contrary to practically everything revered in America, where emptiness often connotes a kind of material desolation, the embrace of the void in Japan is an emotional bond. 

Of course, the Japanese abroad will be drawn to all those big spaces of America and Australia because to live in Japan is almost always to be cramped in little homes. Yet, generally, they are organised for a limited physical space and their homes are designed impeccably. Unlike Americans who go full and extra-large, the Japanese tend toward spare and lean.

The painting above and the small gouache below would never have been done if I had not made those two trips to Japan. In them both, I yearned to stop at just the edge of something, an inspiration comprised of so little. Having over-thought everything in my life and in art, suddenly, I wanted to slip quietly underneath the bridge. 

I began a lot of work which defied everything I had been taught. Some of it was Ok, some of it was not, but some of it was really interesting for me. I wouldn't pretend that it is even very good. But what I do know is that a lot of the work done in these last few years have spoken to me, spoken a strange and encrypted language that I was barely equipped to understand.

And that is a key for me for I will always prefer to feel an artistic emotional than to understand it rationally.  

The painting above, so simple it surprised me. I left it as is. And today, I am glad I did. I have ruined too many pictures trying to make them righter. It is hopeless cause. 

But this is titled after the French word verb frôler which means to lightly touch, or graze something. Imagine a butterfly alighting a rose petal. 

It also speaks to the gouaches too. Looking back, I suppose those several years were all about searching for a metaphor expressing that 'gentleness in all things tactile'. 

I took to framing the small gouaches with a simple band of masking tape while leaving paint splotches and ink drips as they had fallen. I do like works of any kind to show their battle scars, as it were. I hate pretty frames that attempt to cover up the organic execution of a picture which is sort of like putting a silk suit on a slob. 

Japan has been on my mind because I recently saw The Earthquake Bird which is set in contemporary Tokyo. It's a compelling film and I liked it very much, so much, that it has stayed in my imagination, lingering like  everything of substance.





23 September 2021

gli Uffici, and the Q train






I am still transcribing my diaries which is a Sisyphean task but I keep at it little by little most nights. I will share this day from so long ago.

Florence, 8 October, 1986

'...In the museum today, there was a young woman being pushed around in her wheelchair. She was hooked up to an oxygen machine which was attached to her throat. It struck me as most sad. The machine wheezed mechanically with a jerky rhythm pumping air into her, then sucking it out again with great urgency, almost a great violence. To imagine that I complain about my life so often! This poor woman goes through an unfathomable ordeal just to survive each day. Without the machine she is dead. I was very moved watching her in the museum today as she glided around looking at paintings so intently, more intently than most I thought. We must be thankful for our faculties I think to myself. They can be taken from us so randomly and with uneven violence. The sound of her artificial breathing moved from room to room just ahead of me. 


'... I am thinking of Paris. I always do at this time of year when the Autumnal streets darken in the moist, late afternoons. I have an urge to wander the busy boulevards aimlessly past the  cafes all lit up and full of apparent gaiety. I would be alone as usual, but that is part of this charming postcard in my head which was after all written back in childhood. Then suddenly, all the tall street lights would switch on, and the crazy birds would roost noisily in the great Plane trees overhead. That is Paris in the Fall....'

 

'...A funny little thing in the Herald Tribune today. In the subway station at Union Square a confused tourist on the platform was shouting at the conductor whose head had popped out of the cabin window as he was pulling out of the station. 


“Is this the 6 Train?” the tourist yelled out.


“No, This is the Q train,..Q train,, Q as in cucumber!” he shouted back as the train departed. into the black tunnel.


Ha Ha, only in New York...'



21 September 2021

White flowered dresses, three sisters at the Ball

                                                                              LAT

Evening Prayer Brunswick Heads, 18 September, 2021, oil on canvas board, 30 X 25 cm

                                                                                  HML
Evening Prayer Brunswick Heads, 18 September, 2021, oil on canvas board, 30 X 25 cm

                                                                                    WBM
           Evening Prayer Brunswick Heads, 18 September, 2021, oil on canvas board, 30 X 25 cm


I arrived somewhat earlier than usual and set up on a very windy dune. The beach was almost deserted save for three or four kite-surfers who were cutting up the sea. The sky was slowly filling up with cirrus clouds full of tiny holes, and the deep blue sea looked scratched with broken whitecaps. They appeared, then disappeared. Just to watch was exhilarating. These studies came in quick succession the other night. I believe they are in order of when they were painted from top to bottom.

I jumped into the skies as soon as the palette was ready, and I didn't think much at all which is always wonderful. "In the groove" is what everyone says while in such moments; lost but then found again. Time evaporates temporarily.  

To be honest, I had been a little out of sorts over the previous few days for a number of reasons. Thankfully, these shadows rarely lasts long anymore. It is a great privilege to be able to go out to paint at the sea; a privilege to escape my mind even for a few hours. These are beautiful skies and I regret any day I miss them. 

There was the waxing moon which always disrupts this lovely 'bloom' or 'blush' in the sky, so I had to quit earlier than usual. But because it had clouded over, and the moon was briefly obscured, the whole sky suddenly turned the colour of red plum but only after I had already cleaned up the palette. Sadly, I had to watch it glow for a little while longer before it went deep, deep blue. But I was happy to have these three studies to carry home. 

I am beginning to really love these pale evening clouds at the very end of daylight when all colours and forms merge. This night they appeared almost like embroidery with soft, delicate patterns as if made for ball gowns from another age.                                                                                      


19 September 2021

James Salter and the time stamp of art



I have just finished this small book by Jim Salter, one remaining holdout which I had yet to read. It is a compact volume made from three talks which he gave later in his life. There is also a great introduction by writer John Casey. 

The talks are filled with stories, for like many writers, he loved anecdotes, and like any writer too, he was a story teller. But perhaps not like all writers, he really loved talking and telling stories. Though I had already read in his other books many of these delicious anecdotes they were a pleasure to 're-listen' to them again. He has been described as a 'bon-vivant', 'a Francophone', and 'a gourmand' who loved friends around the dinner table with bottles of wine on hand.

But again, all writers are not like this, some are listeners, discreet like church mice, and mostly somewhat invisible. But then, he was both it seems clear to me. 

What I wanted to say about him is that there are many points during this book wherein he speaks about a thing, anything in life that happens to us, risks to disappear if it is not recorded, written down. He says:

"....Everything not written down disappears except for certain lasting moments, certain people, days. The animals die, the house is sold, the children are grown, even the couple themselves have vanished, and yet there is this poem."

Curiously, he refers to his lengthy novel Light Years, to which he is referring, as a poem.

I don't know if he would agree with me that all of life is perhaps a dream, and that it must be recorded, otherwise it will slip back into the inconclusiveness, into the rich and enticing formlessness of a functioning dreamworld which is not an artistic process, though helpful I'm sure.  

All this resonates with me because in essence, as a painter I feel much the same way. A painting does the same thing as stories. Of course, one could say that everything 'conceived and physically constructed' by humankind is included in this, but I only use books and paintings as an example. 

                     LDK

Evening Prayer Brunswick Heads, 16 September, 2021, oil on canvas board, 30 X 25 cm
 

For me, a picture needs to be as coherent and clearly communicable as any poem or short story, novel, what-have-you, or it too risks not living. It needs to 'exist'. And I am not excluding abstract paintings, for they too, possess the possibility for cogent, communicable ideas enough to give birth to a work which is alive, or I should say, has lived in this world. 

To go further out on the limb I would say that the problem with both bad writing and bad painting is that they employ cheap methods to attain their goals. In novels and stories, it is often the cliché, (among a number of overly used tools which dooms it).

And the same goes for Painting, for it is the cheap lighting effects, the poor drawing, or lack thereof, among any number of other gimmicks which derail it. How can a picture live if it is has been poorly made?

The problem with all this is that if (when) they fail, then perhaps there is nothing to give them life. One could say that they pass into the netherworld or dreamworld of a failed work of art. 

But if, and when they do succeed it's because a confluence of so many elements of greatness, talent and originality to name but two. When great they endure, and they can live forever.

Could one not say that only Art itself is what gives us an appropriate accounting of reality of history? 

There is a reason that so much bad painting is locked away in vaults of the Louvre and also why dime store novels are freely used to get the chimney fire started.

But, what I really wanted to say is that we  have so little time on this earth in human form that by 'passing our time' in the pursuit of Art is a worthy vocation.

An adult artist, not unlike a child who draws a lot, is hungry, almost obsessionally so, in order to concretise his/her feelings somewhere, and by any means. I think of the cave paintings of Lascaux.




So of course, I use my own painting done a few days ago as an example of how I put my own time stamp upon the day reminding me that I was there. I existed because this painting is proof that I was there out on the dune at dusk facing the Pacific Ocean. 


15 September 2021

Occam's Razor and the search for meaning

                                                                                 GGS 

Evening Prayer Brunswick heads, 11 September, 2021, oil on canvas board, 25 X 20 cm

                                                                                 LJD

Evening Prayer Brunswick heads, 9 September, 2021, oil on canvas board, 25 X 20 cm

                                                                                 LEP 

Evening Prayer Brunswick heads, 11 September, 2021, oil on canvas board, 25 X 20 cm

These days many of us cannot help but feel an immense state of anxiety about the world and the people who inhabit it. There are too many versions of reality because everybody knows best, more than everyone else, and because they have big mouths. Daily, after watching the News, I cannot shake the feeling that the inmates have taken over the asylum. Enfin! Quoi faire!! 

When it comes to Painting though, and happily so, diverse realities are welcome! "Bring it all on!" we cry out to the world.

In my pursuit of some abstract meaning in this particular motif I seem to be continually drawn back to a simple design, and this is fine with me. It is almost as if I am cutting everything down to the barest of bones via Occam's Razor. 

In olden days, it was known as the Principle of Parsimony, and that makes sense to me. And today I imagine that it lives on wholeheartedly in places like Japan for instance, where brevity and simplicity are still equally revered.

Myself, I often pare both the drawing and colour harmony down to the design of a flag for some verdant island near the equator. I don't usually set out to do this but it's true that when I am feeling uncertain I will sometimes just carve out the sea and sky into slices the colour of mango and watermelon.

Graphically, (for me) it is interesting, and somewhat easy as I adore stripes of all sorts, thick and thin. Sometimes it is a way to just begin something because time is precious. 

I could almost see an entire show presented just in this simple format yet inevitably with many, many varied colour harmonies. 

  

11 September 2021

Twins, 9/11







(This was first posted 9/11 2011)

Exactly ten years ago I was living here at the Belvedere with my friend Lydia who is also a painter and we spent that day trying to take care of a lamb whose leg was broken. At this time there was a shepherd named Roger from Catalonia who walked his dog and troop of sheep four  times a day, up and down the small road which is below the house. Early each morning the sound of tinkling bells and his bellowing voice awakened us. 

Up to a large field about a half kilometre off the road each morning, then back for lunch, up again, then back home late afternoon was his daily routine. For us it was a wonderful way to mark each day of our life here in the Drôme. Roger was friendly and always shouted 'Salut' when he saw me coming out onto the terrace to wave to him. Once in a while a lamb with a broken paw would straggle behind crying pitifully which was painful to watch four times a day. That week it was too much for our city sensibilities so we asked him if we could take care of the latest invalid. Thinking we were a bit crazy but being affable about the whole thing he gave it to us much to our surprise. 

So on the morning of September 11th we took it to the Vet's in La Begude who probably also thought we were a little 'dramatic', and he advised us that it had a broken leg and should be someone's dinner quite soon. We brought it back to Roger who promised he would put it in a small field next to his house. After lunch we each went into our retrospective studios and painted for the afternoon. Lydia painted a portrait of two large dying sunflower plants (see top photo) They were slumped over and hanging to one side. I worked on a few things but couldn't concentrate so at one point I threw two red vertical lines onto a small canvas hoping to throw me into some movement. I found it was a compelling image, I don't know why but I stopped and left it in that state to pick to up something else. 

We did not live with a television at that time and retrieving emails was a dial-up affair, and thus it was not as easy as today to access the internet. In truth, we were at the end of our relationship and we didn't have much to say to each other so I imagine that we ate dinner outside and went to bed. I do remember the telephone rang once or twice during the night but this was at a time when I wished to be out of touch I guess. Needless to say we didn't find out about what had happened in New York until the next morning when I did retrieve the phone messages. There were condolences from several French friends which I found perplexing and an hysterical message from my sister in the States. I went online to see what the fuss was all about. What really surprised us were the two images which had come up for us both completely independant of one another. There was something quite eery about these images being worked on at just about the same time as the towers were falling (6 hours ahead of Eastern standard time)

(An update to this story: Lydia wrote to remind me (which I had forgotten) that the small lamb which she had healed with argile had somehow lived and walked after a week!)