White Circle, Blue, Black

24" x 24"

oil on panel

Despite the reduction, this image recalls Romantic landscapes, which has led me to the word "sublime". A Wikipedia entry regarding the sublime in art has expressed my intentions rather succinctly (I have cut and pasted parts of it below).

An artistic reference to this piece is Arthur Dove, a painter who embraced the sublime.

Wikipedia entry
Victor Hugo touched on aspects of the sublime in both nature and man in many of his poems (Poems of Victor Hugo). In his preface to Cromwell (play) he defined the sublime as a combination of the grotesque and beautiful as opposed to the classical ideal of perfection.

The experience of the sublime involves a self-forgetfulness where personal fear is replaced by a sense of well-being and security when confronted with an object exhibiting superior might, and is similar to the experience of the tragic. The "tragic consciousness" is the capacity to gain an exalted state of consciousness from the realization of the unavoidable suffering destined for all men and that there are oppositions in life that can never be resolved, most notably that of the "forgiving generosity of deity" subsumed to "inexorable fate".[15]

The sublime, as a theme in aesthetics, was the founding move of the Modernist period. Attempting to replace the beautiful with the release of the perceiver from the constraints of the human condition, these ideas were amplified in critical theory through the work of Jean-François Lyotard[16]. For Lyotard, the sublime's significance is in the way it points to an aporia in human reason; it expresses the edge of our conceptual powers and reveals the multiplicity and instability of the postmodern world.

Moving Cloud

24 in. x 24 in.

Drifting clouds are fleeting and paintings are fixed. The cloud is off-center, pushing towards the right. It is framed in a blue rectangle inside a white square, drawing attention to its placement and the artist's awareness that it is artifice and a slice of a larger thing, a moment of sky. Clouds are all about change, while squares are of stasis. Like photographs, the rectangle contains time. It is a window to get distance to look closer, if that paradox makes sense. The painting is monochromatic. The whites offer tranquility and the blue brilliance in motion. The cloud is passionately peaceful in its solitary direction.

September Eleventh

digital image

I have been making art in response to 9/11 since it happened and then a piece or two at each anniversary as a way to personally set aside time to think about it and as a kind of memorial. It is too big for art to fully encompass, and too world changing to ignore. The New York Times asked five artists to draw and write about the event and has their work on-line today: http://www.nytimes.com/slideshow/2007/09/10/opinion/20070911_OPART_SLIDESHOW_index.html
They artists they chose work in a traditional, representational manner. While I like the work, I think it was a conservative move so as to take no risk of offense.
I think I am going to paint the digital version. The bright blue is the blue sky of that clear day, the black forms are the towers, Pentagon, and plane that crashed in Stonycreek Township (surrounded by green for the field). The black is for negation, voids. The white plane is also cloud-like. The figure is in a crucified position and is representative of all human loss and suffering surrounding that day. The hands and arms are drawn loosely, in order to be more like wings and feathers, echoing the wings of the plane and suggestive of resurrection.

Black Cloud, White Cloud

16" x 20", oil on panel

The diagonal axis in this painting creates momentum. The sky is not placid, but filled with marks in various directions albeit small in scale in order to emphasize the masses of the clouds. It has a narrow color range which is also in service to the main actors, the clouds, in their opposing black and white. The black cloud is in pursuit of the white, and comes close enough to cast its shadow. A clear blue stretches behind them into the distance as the white cloud bumps against the right edge of the panel in flight.

Constable is known for his cloud paintings; here are three:

http://markbarryportfolio.com/works/Assorted/Constable.jpg

http://www.german.leeds.ac.uk/RWI/2001_02project2/ccloud.jpg

http://images.google.com/imgres?imgurl=http://www.metmuseum.org/special/KarenBCohenCollection/images/1.L.jpg&imgrefurl=http://www.metmuseum.org/special/KarenBCohenCollection/1.L.htm&h=352&w=300&sz=35&hl=en&start=35&sig2=DeE9Q1Yl_Wb9DhStkSuh2g&um=1&tbnid=RAYvRnPRmRuAiM:&tbnh=120&tbnw=102&ei=xlPhRo2MBIaUiwHGqry0DQ&prev=/images%3Fq%3Dconstable%2Bcloud%2Bpaintings%26start%3D20%26ndsp%3D20%26svnum%3D100%26um%3D1%26hl%3Den%26safe%3Dactive%26rls%3Dcom.microsoft:en-us:IE-SearchBox%26rlz%3D1I7GGIC%26sa%3DN

They are really impressive in their intensity, especially the last one. I think clouds' amorphousness gave this 18th/19th century painter the opportunity to use vigourous brushwork with emotional vigor not unlike what the Abstract Expressionists did later.

Butterfly Breathing

oil on panel, 30" x 24"

The air is like cotton candy, but the picture is not saccharine. Figure and butterflies are part of the same environment; the same air fills them. The butterflies are staggered and there is a halting motion to the piece, almost like stuttering, especially in the drawing of the mouth and first butterfly to emerge. The red lines forming the figure and the pink flesh are the colors of blood and life. The butterflies are extraordinary because of their vibrant coloring, freedom, and harmony within this environment. Butterfly breathing is the act of acclimating to the world. It is not always a smooth process, peppered with stops and starts.