Now that I have chosen the paintings that I want to do over... Always good to have a do over from time to time. I am at a place where this pesky either or situation has come to the fore and I feel that I must address it.
Looking at art we are instructed, via the artist, where our eye should land. Color manipulation can direct our gaze in the same way a magician uses distraction to pull off a trick while we are looking at something else. In thinking about this I am finding that with my new work I have a desire to eliminate that shock focal point in my work. That dot of color or line and flow that says HEY!!! LOOK OVER HERE... Instead I am more interested in not having any of those flashy spots, but rather a soothing color field that allows for a meditative assessment of the painting as a whole. I do go back and forth with this and I keep throwing out those few crazy bold acts of defiance. In reality it's less about being defiant and more about the act of stretching ones legs after sitting for a long period of time.
With the passing last week of journalist Morley Safer, I was reminded (from his art segment clips) how much he hated modern art, and how much I love it. His assessment of a minimalist painting that was basically a plain white canvas was both priceless and revealing. I have always been drawn to minimalism in art and at the same time have felt a lot of it was (as Morley might of thought) a con. The idea of mounting an entire show of twenty red canvases, all the same with some crazy existentialist manifesto written by the artist, was and still is to a degree, one of those things in art that make a lot of people turn their nose at modern art. Even modern artists. The only defining point to the success for this kind of art is the pedigree of the artist. An art school darling with the right backing can get away with murder. But that is all a nice essay for another time. I am really just playing devils advocate with my own situation.
so what will it be: this or that...
maybe it is the act of commitment, one and then another and another.. until the desire to sensationalize become less a motivation, and the desire to explore the intimate and subtle nature of LESS... becomes it's own form of sensationalism..