Division of Work: Paintings and works on paper, which were previously bundled together, are now on separate pages. My tardiness in breaking them apart has more to do with slow output than divisions in my thinking. I strongly urge those viewing my paintings to also look at a few works on paper, as these multimedia works more intimately reflect my creative thought process. Completed paintings tend to erase the footprints leading to them.
These paintings are generally small. Nothing here is larger than 16” by 20”. Detail ties these pieces together, although how I apply detail is evolving over time: Foreground objects are becoming less ornate, while backgrounds (landscapes) are increasing in density. (More notes pertaining to painting may be found below.)
Nancy Binary 11" x 14" oil on panel
Pinocchio’s Time Share 16" x 20" oil on canvas
Bridal Spore 9" x 12" oil on canvas
Clandestine Chowder 9" x 12" oil on canvas
Moth of Mid-Month 16" x 20" oil on canvas
Land Mass At Variance 9" x 12" oil on canvas
Wheals of Saunter 9" x 12" oil on canvas
Eponymous Gallstone 9" x 12" oil on canvas
Eel Conceived of Women 12" x 12" oil on canvas
Realism versus Personal Reality: We are living in a golden age of photorealism, although many current proficients are not as candid about their sources as those who initiated the approach in the late 70s and early 80s. I dabbled in photorealism at the beginning of my education, and still incorporate aspects of it here and there. Personally, I will always prefer working from real-life or imaginary objects, since both binocular vision and the imagination force one to blend (interpret) perspectives. A camera is monocular, and flattens everything by definition, making the photo-reductive taint hard to cast off.
I have allowed my works to be categorized as “low-brow” or “pop surrealism” for the sake of convenience and expediency, much in the way Picasso allowed himself to be categorized as a surrealist when he exhibited with those who self-identified as surrealists. Labels are arbitrary things, and sensibility and style change over time, regardless where Art History chooses to place one in its Canon.
Pillow Shams of Sobriety 11" x 14" oil on canvas
Fruited Bodies 9" x 12" oil on canvas
Aspic and Its Aspect 9" x 12" oil on canvas
Gummy Shards 16" x 20" oil on canvas
Alloys and Alliances 9" x 12" oil on canvas
Animus of Treacle 18" x 12" oil on canvas (diptych)
Laurels versus Risk-Taking: There comes a point in one’s output where proficiency is reached and one borders on becoming a mere stylist of one’s better efforts, or worst, a parodist. The formula may be winning, but it resembles masturbation if it goes too long with little time being set aside to reflect on the course of the work. I do not claim virtue in these areas, yet I escape the dilemma by leaving my work for periods of time before resuming it. Employing a variety of media is another way of jarring one’s imagination out of ruts, since each media entails inherent limitations in what can be done within it. These limitations present challenges and calls one’s resourcefulness into action.
Forests of Sorrows 8" x 8" oil on canvas
Dormant Landscape 8" x 8" oil on canvas
Gloaming Cove 8" x 8" oil on canvas
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