painters TUBES magazine Free to Read issue 11

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Facts on the Transavantgarde movement with new work for fine artists. Read any time anywhere FREE

Personal experience is of course, a completely different ball game and

on this kind of trip, you are so busy taking everything in it’s often not

obvious when to pause and get something down on paper.

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I had in mind a series of images that would record both my physical

journey and the perceptual changes running alongside. The process of

visual acclimatisation and eventual suppositions are much more about

the experience of creative output than they are, any single image. In

many ways I see the paintings, drawings (or for that matter, a piece of

writing), as visual punctuations in that wider ongoing process. It is they

that often seem to be the re-calibration of thought and not the other way

around. At that instant the artwork, just completed, moves centre-stage

and becomes a momentary articulation of what I think I know.

The American philosopher, Susanne Langer, used the phrase ‘vital

import’ to describe the creative combustive reaction particular to

artists, the moment the brain digests a multi-sensory set of percepts

within a single artwork. Any conclusions are based on past and current

experiences and from learnt responses and it is only our individual

perception of what we alone see, that makes sense.

I don’t regard any of my paintings as literally ‘finished’, although

hopefully they reach a point of resolution where I can trust them

as standalone representations of my ongoing practice and the term

‘finished’, although not strictly accurate, is used and the work.… is

‘exhibit-able’.

A few never get to that point and are condemned to limbo-land until

I can figure out a way forward. Some are exhibited, sold, never to

be seen again. There are others (unusual but not rare) that have been

exhibited, come back and then several months or years later, might be

re-worked and shown again.

The other day I laid out all the work produced thus far, related to this

series – approx. 35+ paintings, drawings and scribbles - all in the order

in which they were started. Some seem to be ‘finished’ and at the time

of writing, only those who fall into this category are reproduced in this

issue.

They reflect the transition from built environment to natural and

clearly retain vestiges of that previous enquiry. A few are in into the

‘probably’ category, but most have a way to go and I suspect that some

will struggle to get over the finishing line. A few, are still to be started,

materially speaking, but will be well underway by the time this is

published.

Viewed together, does that body of work represent my experiences

in Chile? The background knowledge, my physiological limitations,

beliefs and my capabilities as an artist all converge on the imagery but,

if experience cannot be seen,...

...then what is it, that I am looking at ?

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