I’m not an outsider. I’m from here.
Five panels, 40 x 50 cm, acrylic on plywood. Studies or paint samples suggesting weavings, oceans, or heavy atmospheres, veils, waterfalls, draped views of distant and uncertain subjects.
As in Cassini footage, for example:
Film by Chris Abbas https://vimeo.com/cabbas/cassini found on Astronomy Picture of the Day
Track: 2 Ghosts I, Ghosts I – IV by Nine Inch Nails
(Used under a Creative Commons Non-Commercial Attribution Share Alike license.)
Ad Reinhardt's Black Paintings: A Matter of Time, Arden Reed, The Brooklyn Rail, January 16th, 2014
Looking at nature, looking at pencil marks, looking at paint. Looking out, looking up, looking around. Looking into imaginary space.
I heard the word, wonderful thing, a children's song
Small panels float on a wall. A night sky or watered surface, an overlay of starlike geometries, faceted figures for focusing on the invisible. Having nothing to go on but continuing forward without knowing. Again! Again! To defeat despair, make something. Like a diamond in the sky.
The Pursuit of Beauty, Yitang Zhang solves a pure-math mystery, Alec Wilkinson, The New Yorker, February 2, 2015.
In life I never was
among the well-known flowers
and yet, in withering
I am most certainly
Aru toki wa
hana no kazu ni wa
chiru ni wa morenu
I am myself at the moment of my death, and also now.
Round painting from 2013, acrylic on canvas, 60 cm in diameter
My friend Sandy got this one. It lives in Santa Fe, NM now, in good company among Sandy's many gems. Her little condo is like a treasure chest, so I'm very flattered she made room for one more painting.
Remembering Eva Stewart Trevelyan Yakutis today. Born September 30, 1919. Died November 19, 1977. Riverside, California
9 minutes of cloud action with ambient sound
In Act I, Scene II of The Tempest, the "airy Spirit" Ariel is ordered by Prospero to lead the shipwrecked Ferdinand to him. She does this by invisibly singing to gain his attention and guide him by the sound of her voice. The second stanza is of particular relevance to Ferdinand since his father drowned. These are the lines that come to mind. Hark! I hear them --
Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes:
Four round paintings, 2013, acrylic on canvas, 41 1/4 inches in diameter (105 cm)
Brooding warmth. Something hot within, but the effort can't repress it. The orderly structure strains, and begins to surrender to something more lively than itself. The old is overcome with the new feeling, the new earth, as much as it can be described. The new breaks away physically and in its ability to be totally understood.
The device becoming apparent. The paint itself becomes the organizing principle, circumscribing all elements. It defies efforts to conceal it, and ultimately becomes the statement. How it is supersedes what it is. The two are inseparable, and have a unique context for the understanding of one another.
Organic contained within artificial. Two motifs, shapes of human effort and organization, natural strokes and textures. Both bared to the eye but subordinate to intent. In each is tension, not yet completely expressed, but unable to be hidden or as of yet, resolved.
Harmonized natural and constructed shapes. Brushstrokes beget striations in orderly rows. Boundaries both within and otherwise suggest more to be revealed, a larger whole than what is immediately evident. Shown, nature and will in microcosm. In the closest view, perhaps their most mutually beneficial.
The end of the series. A simulacrum of nature left to organize itself. On wood formed according to human terms, new shapes manifest of their own accord. The absence of outside control in its appearance gives it a certain inscrutability, but remains dependent on the media for it.