One of my latest oil paintings created as a companion to Balance taught me that it is very difficult to go to a point back in my creative time. Both paintings have similarities, but are very different in several ways. Each of us is a microcosm of all that has preceded this very point in time, the events, images, people all adding up to a new perspective.
Into the Future is more than just a composite. It presents a question for which there are no answers, only conjectures. What will the future of the planet be? Technology has already changed the way we live. How will it alter our future? Only time will tell.
Into the Future, Oil on Canvas Gallery Wrap, 36 X 36 inches
This painting is available at Frisco Fine Art Gallery in Frisco, Texas, (214)872-1917.
This painting has been in progress for some time. Each time I make changes leading to more changes. It has a bit of a Southwestern feeling along with a touch of the mystics, a part of the place where I live and a part of what I read. Dead Souls by Gogol is my current read--a novel of 19th century Russia by one of Russia's foremost literary geniuses. Who know what the next changes will be comprised of? Since I am painting this piece from some place deep within my unconscious, anything might appear.
It seems that the more I read, the more images race around in my head. The last novel to linger for a long time is Snow Crash by Neal Stephenson. Published in 1992, it has so much relevance for what is happening in the tech world today: avatars, metaverses, and more that may come into being. Some of the characters seem to be from another universe with their bizarre personas. I read and paint images of duality, but why not triality as we thing about alternate universes? And what about that other 60 percent or more of the brain which we do not use? This character or characters lead one to wonder.
Two worlds merge in this design: prehistoric pottery of the Sikyatki of Hopi legend and the modern abstract world of Frank Stella. For years I have been fascinated by the ancient cultures of South, Central, and North America and the beauty inherent in both. The reptilian form, and especially the Great Plumed Serpent, figure prominently in Hopi culture. What to do with this form which I had put onto a screen for printing some 30 years ago? The “aha” moment came when a I viewed a Frank Stella exhibit at the DeYoung Museum in San Francisco. His approach to abstract geometric forms inspired me so much that I played with line and color in combination with ancient form.
Ancient Memories--Then and Now, Silkscreen with Oils, 7.25 X 7.25, $140 USD
I am starting to expand the visual boundaries of the faces which I paint. This painting includes arms and torso, not just a face. At one time, I painted nudes, standing figures which incorporated the entire body into the painting before I began to focus only on the face. The body can communicate as much as the face. In my diagnostic work with deaf children with multiple disabilities, I was observing a girl about 7 years of age. She had been identified and diagnosed as mentally retarded, but was referred to the California School for the Deaf for further observation. I observed her nonverbal behavior, how she played, how she imitated, how she moved in her environment. Thank goodness, someone else agreed with me and saw the same behaviors which I saw--not those of a mentally retarded child. The diagnosis was changed and she was placed into a classroom where she received the appropriate education. That's just a part of my "other, past" life which influences what and how I paint.
Last week I posted an image titled Can We Be Friends? In that post I indicated that the image was not completed. I have now finished it and finished a second one that may coordinate with it as a diptych or may be viewed separately. The diptych is titled Can We Be Friends? Separately this painting is titled as above: Hey, Look at Me. The character in this painting is so extroverted that attention to him cannot be denied. If you look very carefully, you might see another character a little less introverted and that is not the woman shyly demurring.
Should I start making ransom arrangments? No one can give me a really good consistent reason why this art work has been held for the past month. To question the validity of this original art work is beyond the realm of rationale. Examining the work for more than two weeks is a bit much. Just to feel the paint and inks, to smell them and to look at the work should be good enough reason to classify them as original work. But maybe the XRay machines need to do their work.
I have been told that my work has a European feel to it, but all should know I was born in the US, live in the US, and work in the US. I am not copying or making posters of the work of another artist. These pieces just appear on my canvas. From where, I know not.
My Lisbon show has been postponed. The artwork has been held in Portuguese customs for three weeks, soon to be heading into the fourth week. Why is still not clear. There have been many different stories as to why, none of which make much sense. Questions re:authenticity of the work, consignment, payment of duty, and more, all the hoops which I jumped through, and still the paintings are held. Maybe the show will happen some time in the future, maybe not.
A new take on my contemporary faces. Who knows what inspired these wacky wizards? Maybe the book The Wizard of Earth Sea by Ursula Le Guin. I read that book about three months ago--maybe it takes that long for the info to permeate the gray matter and convert into images.
This piece will be exhibited at Colorida Gallery, Lisbon, Portugal, from March 14-27. Reception is on March 14. Would love to see you there.
Wacky Wizards, Oil on Canvas, 36" X 18" gallery wrap