In the spirit of artist Anne Truitt, I am going to take a month to publish my "daybook" here, using entries from my art journal. Each morning, I take about 5 minutes to write about my work, including where I am at with my current piece and what I am thinking about in relation to the work.
Watched Vanessa Gould's PBS documentary Between the Folds last night – a beautiful look the science and artistry of origami, the mimicking of nature in its use of folding/unfolding. I use origami for its effects on paper imagery – how it makes a 2D image into a 3D object with folds that imply memory, being acted upon, being hidden, distorted, solid, expanded.
Art takes throwaway, ephemeral moments and makes them last longer, elevates them, makes them magical or important – gives them weight. The painter Richard Estes looks at a street or city view – quick, 1 second event - then laboriously expands it into huge, important, solidified artifacts.
Starting to research new residencies, new pieces. Getting to the “finish” mode on Shirley piece. As ever, doubts and not clear if I have opened the way enough for new inspiration, but I trust that I will feel how to do that, that I am doing that.
The work's slow evolution is happening, the large size of the current pieces makes the execution long, but satisfying.
Bought colored bulbs to try some colored lights in still life to see what they will/could add, if itfeels right. Can try it. Perhaps holding onto just the black and white allows me to focus solely on the information I want to convey without decoration –
Will start with process already in place: manipulating the image into a 3D object, relating to it as I do, feeling my way into the next shape and composition.
Studio yesterday – completed large area (shadow) then followed up with more detailed, specific areas. Feels good to get to the most detailed parts, feel the painting is not everything, it’s not more than what it is, but when I look at the whole, or have someone react in a surprised way to it, it makes it better. When I get close to the end, it feels on the one hand like, I am getting there! and on the other like, is this all there is? What I discover the painting to be lacking is the next painting’s task to address.
Looking at the Nature Morte still life book, seeing hundreds of artists embarking on similar path: to render something meticulously, to use rendering to record a transient moment –
For me, with blow-away paper, a momentary feeling is expressed in paper and then expanded/solidified in paint. This is what it feels like to be female – it feels awkward and distorted and incomplete and somehow very forgettable and paper thin. But still we are solid. Our existence, our accomplishments, our stature. The telling of this is in the paint.