i can say a word a word like ‘drench’ to indicate a darkening or i could say ‘soak’ and i can xplein i use this word because it & yet but gracefully conveys a shadow, euphamystically lets say. choosing a paint color, at the moment it is greyish blackish and thin watered down sepia ink applied to shading the most academically basic approach to color ha ha. choosing a lightresistant color and inflecting into a contrasting surface, a luscious cream base a deceptively rich surface perhaps a surface that reflects designs i mean desires so i may use a pallette knife a dry brush a comb or my fingers to carve lines apply textures, basically (use techniques) with the surface texture while the paint is still wet or create the texture through an overloaded paintbrush leaving valleys and hills of color in its wake. or do away with any kind of surface texture whatever and paint photographically flat in thin layers or in a gouache style to create some monumental startling superrealism but i compromise with loose relatively flat strokes. The effect can be conjectured easily sensing the language nuances and moods of color and how far they reach what particular shade is in complement and/or in direct/indirect opposition or satisfaction without letting go of the scope and compositional gestalting or the interaction of colors one to the other and each to the all within a defined space
the intermixing and laying of color. is a finetuned sensory apparatus emulsified. in an invision a blend to the outvision where hands eyes thought perception intertwine. the rightness of it and result indicates the next motion. now, the motion itself can become the central focus, like the
action painter, makes those little repetitive stroke motions like a dance strokes bcuz the way it feels and it goes with the music ambient or played in the studio. and the visual qualities are intended to match the thrill on another level of perception and it will it will and will call it art.
lets say there is a pie, a key lime pie ok has discernable layers. the crust, the filling, the meringue. if the entire pie is all meringue certain selective tastebuds will find it delicious whipped and creamy, its sweet, it is easy to see, on the top, its fluffy. you know w/o effort what it is, its the white stuff. the blending of flavor is just within that particular parameter. the kind of pie used in slapstick according to entertainment standards a pie in the face is supposed to be enjoyable shocking or funny to watch. i aways like seeing how it lands but it appears 2b soap bubbles not something 2 enjoy eating and they always seemd to be spitting it out or wiping it off. if someone threw a real key lime pie in my face i guess i would eat what i could of it before washing my face.
but i have digressed from the process of the painting. so i drove west to the berkshire mountains and stopped at the roadside rest the mass pike before lenox and quickly set up and within a few hours as it was cold, i had this study, done in acrylic and water on bristol paper plein aire. and i didnt paint what i saw entirely as there was snow and i didnt want so much white.
there was a slight accident there, a plumbing truck swiped the back side and cracked open the rearlight frame and the plastic red and orange colored windows popped out and lay helpless on the lot concrete. the driver jumped out, apologhizing, saying he was watching the painting and didnt see the car. “lets not do the insurance thing” he said after we’d exchanged id’s and info and numbers. the next day a man came and looked over the damage, took down model numbers and such and said he’d be back in a few days to fix it, saying sorry again for the accident looking at me i said “it was an accident” and “the driver was very helpful”. he said “thank you”
so the picture of the berkshire valley with hills and clouds by accident attained an unusual significance, albeit just 2 me and the driver of that truck, and now perhaps to you who would have thought “nice purple mountains” or something maybe like that or “crappy painting” or whatever if i only put the picture here and not the story. still there is the story which is a big part of it. the story/picture could be cleaner or more obvious but repetition gets tiresome after a while and i'd have to cultivate a new vein to keep shooting that dopelike agenda
which gets ingrained in the process as a blind spot unseen and needs regular checkups. when a viewer approaches the work they may see a blend of circumstance or at the least a projection. so it becomes clearer and i back off from any kind of judgement xcept i like it or not which is just what the child or uninformed would do, however the twist is in recognition rather than reaction. ‘hold” said the cameraman “suspend reaction....now, show
feeling"
anyway so what happens in the studio later is that the study would be emplyed for further study and built into a final vision, a darn near serious painting ha ha. but no, i was more inclined to scan the original and put it through some complex selections and filter. and so it became the other thing. and then within that other thing i
found some
creatures in the sky.
inside the lateral leap is a whole new thing. you want some pie? i'll make some java
xxx
