Painting & Photography Part II

November 28th, 2011

Some time ago I wrote about whether a person could be both a painter as well as a photographer. Since then, house hunting all over France, moving, remodelling, organizing and so forth. It was a long break from my normal contemplative routine. After some months of being back to my path I had a big insight. Somewhere along the line I had fundamentally and radically changed my work, art, and my physical health.

I am of the opinion that today art is the point where our most pressing issues and questions converge. This suggests something other than business as usual. Needless to say, not only are a large number of painters, photographers, graphic artists and so on struggling and suffering. This is also the case with a large number of fellow human beings on the planet.

We all come to our work with a mind that has been formed over millennia. That this mind is leading us in a dangerous direction is now beyond dispute. We have a glitch in the software. You are certainly entitled to think otherwise. And if the case I can only suggest that you open your mind to that possibility. What follows is speculation as to how a mind freed from the shackles of the past would approach creative work.

This is complicated by what Wyndham Lewis termed “The Demon of Progress in the Arts” published in 1955. Wyndham Lewis may be a bit strident for some. However, if you can manage to find a copy it is an interesting take by a person who was in the thick of the art world for more than half of a century.

I’ve read much of what Wyndham wrote during his long prolific life. Having been in the trenches of World War I he was passionately concerned with humanity. For those of you familiar with Saul Bellow, he was a staunch follower of Lewis.

In any case here is the thing, it seems logical to read what the experts have had to say. And some of it is interesting to read. There are a lot of good ideas to be found. At the end of the day, however, they remain just that — ideas. A long time ago it occurred to me that if ideas and good intentions could lead to the solutions for our problems we would already have arrived. The same scenario has been going on for hundreds of thousands of years. It seems that we took a wrong turn early on in our evolution. It seems neither economically feasible nor rational to continue in our same old rut.

I was a member of the Beat Generation of the 5O’s. Watching and participating in the flowering of the ideas of Peace and Love which followed left me following a personal path. The hope of communicating insights gleaned has sustained me since. It deeply saddens me to think about the world we are leaving to our young. All with the best of intentions, right? Those of us who have had the good fortune to avoid the 8 to 5 grind and engage our minds freely and fully have a special obligation. To remain fixed in old fixed patterns is not an option. Many of us are intelligent, well educated, well read, and clever enough to have stepped outside of the zeitgeist. It hasn’t been enough. We only moved slightly, maybe a few feet. All of our old solutions have not worked. They are all based on a mind that at its core can only generate thoughts, ideas, and so on based on the dead past and an imagined future. If we stop doing that something miraculous happens. It is really quite simple but far from easy. Most would say it is not possible. Well, I for one say that it is. Think about this, if it were not possible then Life on planet Earth is a very cruel joke.

What has all this to do with painting and photography you ask? Well, what I’m hinting at is closely connected with perception. I am an old bird and if I can profoundly change my health and my mind I am sure others are doing the same.

Published in french as Peinture et photographie : Deuxième partie

Oil Painting & Health

June 29th, 2011

No need today to point out that solvents are not good for you. Particularly if you expose yourself to them several hours on a daily basis. It was probably 25 years ago that I had an interesting conversation with a Winsor & Newton rep. about solvents. He was himself a painter and lost fellow painters to lung cancer. It was actually before this time that I had stopped painting oils for health reasons. But everytime my health improved I would do some oil painting. And always I searched for a long term solution. I never found one that was satisfactory. Nothing for me replaced oil and turpentine. So, a couple of years ago I stopped painting. Again for health reasons. And, ultimately, the solution was simple. Stop using solvents. I told myself that I would give it one year. I began painting with oil straight from the tube with only linseed or safflower oil used to moisten and clean the brush. I’m heading into my ninth month and am begining to feel pretty good about the results. I have a personal exhibit in August and want to show fresh work. So, wish me luck. Soon, I’ll take some photos and start posting them.

Published in french as Peinture à l’huile et santé

The Hidden Order of Painting

May 27th, 2011

On this blog I’ve been beating the bushes. The approach to the muse, however, is not a path which can be marked with words nor delineated with sign posts. And yet I continue to write articles as if it were not the case.

Rex Brandt said: “We do not paint things, we paint relationships.” True as far as it goes. If only it were so simple. Statements like this seem to entrench in the mind and we can easily lose the context. Rex was very much concerned with his medium of watercolor paint. I point this out as an example of how easily the message is compromised with a sign such expressed in blunt terms.

Delacroix said something that addresses what I’m trying to get at. He said the problem with many painters was they used coloration rather than color. He implies that they are not completely devoted to color and their medium.

If we say we do not paint things, we paint relationship in terms of a colored medium I believe we get closer to the crux of our problem as artists. I might add that to paint relationships we must become deeply involved in the initial experience. That very first impression which strikes strongly and ignites the process needs much nurturing. Carrying this around in our heads for a good period of time the muse may visit as we paint. That is the primary relationship.

Published in french as L’ordre caché en peinture

Art & Man Mechanized

April 1st, 2011

Well, first the move and all that entailed. Then over the last few months world events have drawn attention. Japan! What is this world coming to? In the midst of this I’m attempting to “produce” work for two personal exhibits this summer.

What to say? First and foremost, my heart goes out to the Japanese people. Words in this regard are totally inadequate. I’ve experienced some deeply moving moments in reflection. The following touches some of the highlights. Bear in mind these are verbal thoughts which miss the essence of the experience. They are, however, perhaps valuable on their own merit.

Everything to follow is based on a biased view towards human life quite outside the norm. Having said that, I need add that at my age I no longer feel any sense of judgment towards the society in which I live. Quite the contrary. I’ve written elsewhere about my opinion that our evolution is not done in a progressive linear manner. This has been well documented in the case of prehistoric cave paintings. But we do progress. It may be that over a given 100 year period we progress in humanistic manner 100 steps. Perhaps in the next few year we digress 99 steps. Well, that is still a net advance of 1 step. Has not our value of the human life progressed in this manner? Ever so slowly has the dignity and quality of the individual human life improved.

This model held true until the last 150 years. The photographic image has both directly and indirectly transformed our artistic/esthetic sensibilities. We have yet to begin understanding its significance. A, short, few decades later industrialization was in full swing. And given the choice between a horseless carriage and its alternative we started down the slippery road of mass consumption.

This abbreviated digression was necessary to preface what I wanted to say about my special experience. I felt a deep sense of identity with the Japanese people. This could not have been possible the day before yesterday. Many; if not most of us now can have the feeling of being in the same boat together.

My hope is that this catastrophic event may trigger steps in a different direction. Perhaps an understanding that a world devoid of artistic and esthetic sensibilities is a world that stepped into a deep precipice. If we do not come to our senses someday we will believe when looking back at the fruit of Western Civilization … “well, you can’t get back there from here.” Humanity will have become blind to the importance artistic sensibilities hold for society at large.

Here it is in a nutshell; If the big questions become muted, then the important question of, “how man should live”, becomes as important or unimportant as how ants should live.

Published in french as La mécanisation de l’homme et de l’art