Notre Dame Cathedral Paris 12070412441759 20"x17" acrylic on linen
This side of the Cathedral, perhaps as in the female cardinal versus the male, is a form more mysterious, more difficult to rationalize than the front facade. Here the geometry of architecture gets engrossed in the foliage, transformed by it. The reality of what is known to be before one's eyes is surpassed by what the eyes discover and the hand-with-brush finds impossible to follow to definition. The view is continually being re-sensed because the seeing, the observing, outpaces the knowing. So, the painting comes out of a dynamic searching for what is ever-changing yet objectively present.
Eleven France Paintings 1210261204 27"x32" acrylic on linen
What we do is always, among other things, marvelous. One way
to realize and enjoy what one has done is to study it. In art-making we have
a tradition of the study. In the studio, as I paint from my own paintings as if they were
someone else's or as if simply part of still life in an interior, I can sense
the unfamiliar surprise of my own work; it is finished, so I no longer have
the involvement of transforming it; there can be a detached seeing of it.
In this case there are also the shadowed wall, the writing of understandings
that occurred while I was painting, the range of blacks, and the jarring of each
painting's irregular geometry against the others.
Click on a painting in the painting to see the original work. The color difference shows the studio light was incandescent and the originals were done outdoors.
View across the Mississippi from Lansing, Iowa 1111251635 24"x48" acrylic on canvas
Although I am quite deliberate and strive to be as aware as I can be of what I am doing, in some ways I am neither aware of the work as it happens nor of what I will later discover I have done. It is as if the work is quite ahead of my apprehension of it. For instance in the last several years I have fretted that it is time I should take on some new and greater task in my work, something akin to the largeness and complexity of scale in John Milton's Paradise Lost, or Hieronymus Bosch's Garden of Earthly Delights. What I have lately discovered is that already in the landscape work there is hugeness in the complexity and breadth of the view, and in the myriad abstractly meaningful calligraphic painted touches. Close-up and in digital macro-images of the works these touches are remarkably distinct and particular.
Click on any of these links to view detail images:
Bumper Bridge&Bumper SandPit WhiteHouse Island Docks BelowDocks House&Road Distance Tree
You may also move cursor over painting and click on hotspots for the detail images.
frje at ArtSlant
frje at Xanadu Gallery
Monograph:Working Beside Students