I don’t want to make boring paintings which hug a wall, attaching to it like a stuffed elk head in a hunting lodge.
I don't always like to paint anecdotal pictures either but I admit that these two are anecdotal in a weird sort of way though it may seem obscure to many, even myself.
I am not looking for reassurance when I paint, nor do I look for that when viewing pictures either in my home or elsewhere. To seek confirmation, to pursue a verification of my own ideas seems to be a misuse of the moment. And to see Art as a relic, something old, something dead in a glass case in a museum is also a misuse of time. But I can understand why so many people do when looking at Art. Museums are full of things both dead and alive, and too, its visitors are both dead and alive. In the end, it usually comes down to how much imagination we bring to the experience.
A relic of the past is an affirmation that life was, and to some degree is still today somewhat recognisable (even if young people all have tattoos). We want the familiar but to want this familiar is too often to simply want the same, same old. And the same old in Art is boring and dishonest.
After Matisse, why would anyone desire to paint in the manner of Rembrandt? What is the point? But don't get me wrong I love the OLD too, I love Chardin because I like the OLD but well painted and truthful OLD.
Ultimately though, I want the NEW, but I don't want the NEW to be badly painted. Museums are too full of bad paintings. I want the NEW to be a grandsons of Monet, Cezanne, or Morandi even. Is that asking too much?
I want to paint pictures which cling to the walls of my home, creeping around like dragons and serpents with smokey breath. I need to be shaken up. I want paintings to force me to gently tippy-toe around them naked, or in underwear on the way to the kitchen looking for a sweet during the night. I want to risk being bitten otherwise none of it is very interesting. But at the same time I do want to make pictures which will please me to live with in my solitary castle.
Enfin, I want to be eternally surprised. I need for paintings to ask me questions instead of always throwing answers at me with a clunky heavy certitude.
Why can't artists learn to ask questions to which most answers seem reasonably incomprehensible?