The Landscape of Expression
The beginning of Fall is an excellent time for deep thought; 2010 will be over within a week and three months, the summer heat and wild foliage are finally relenting, and so I, too, withdraw a bit and allow my daydreams to lead me, philosophize even more than usual about education and society, become more conscious of what it means to live life fully. Yet what is interesting about these meandering ruminations is that they lead me to spend more time at the easel, not less; in fact, the more time I spend daydreaming and thinking grand things and relishing the notion of free will and self-reliance, the more new ideas come to mind, and new ideas mean new work [above]. That having been said, I have recently completed two new paintings, one on unstretched canvas and one on stretched.
Around Huntsville, many people refer to the public library as "Fort Book" because of its unusual architecture. The first of my two most recent paintings, View from "Fort Book" [above] is not only an abstraction of the actual view from the library, a strangely desolate view given that it so close to downtown, but a fanciful play on the idea of surveying the region from a fortress.
While the second new painting, Near the Corner of Holmes and Jordan [above], was meant to be considered one of a series with Huntsville Through the Dirty Glass, as I worked on it and completed it, I could not help but note that it seemed a sort of spiritual successor to 417 Greenacres Drive as well. Of course, the proximity of Greenacres Drive to Holmes Avenue and Jordan Lane, areas of Huntsville that are probably seldom depicted in fine art, explains the relationship to some extent, but the living vibracy of the design and colors also strikes me as related. View from "Fort Book" is a painting of cool, though not unpleasant, isolation and watchful stillness, Near the Corner of Holmes and Jordan seems more about movement, growth, deterioration, dreams, and cycles, a very fitting work for a contemplative soul at the turn of seasons. . .
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The beginning of Fall is an excellent time for deep thought; 2010 will be over within a week and three months, the summer heat and wild foliage are finally relenting, and so I, too, withdraw a bit and allow my daydreams to lead me, philosophize even more than usual about education and society, become more conscious of what it means to live life fully. Yet what is interesting about these meandering ruminations is that they lead me to spend more time at the easel, not less; in fact, the more time I spend daydreaming and thinking grand things and relishing the notion of free will and self-reliance, the more new ideas come to mind, and new ideas mean new work [above]. That having been said, I have recently completed two new paintings, one on unstretched canvas and one on stretched.
Around Huntsville, many people refer to the public library as "Fort Book" because of its unusual architecture. The first of my two most recent paintings, View from "Fort Book" [above] is not only an abstraction of the actual view from the library, a strangely desolate view given that it so close to downtown, but a fanciful play on the idea of surveying the region from a fortress.
While the second new painting, Near the Corner of Holmes and Jordan [above], was meant to be considered one of a series with Huntsville Through the Dirty Glass, as I worked on it and completed it, I could not help but note that it seemed a sort of spiritual successor to 417 Greenacres Drive as well. Of course, the proximity of Greenacres Drive to Holmes Avenue and Jordan Lane, areas of Huntsville that are probably seldom depicted in fine art, explains the relationship to some extent, but the living vibracy of the design and colors also strikes me as related. View from "Fort Book" is a painting of cool, though not unpleasant, isolation and watchful stillness, Near the Corner of Holmes and Jordan seems more about movement, growth, deterioration, dreams, and cycles, a very fitting work for a contemplative soul at the turn of seasons. . .
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