Irregular Boundary

In using the line as subject I am confronted with how the two dimensional space is used. The boundary is not at the edge of the paper,it is defined as the line progresses within the limits of the paper. I still maintain a reference to the four sides of the two dimensional space, thought the form is irregular. There is only one main line, it defines the boundary and the internal composition simultaneously.

I am not concerned with calculations in doing compositions. They evolve openly and spontaneously with the main line (tracks) which is the evidence of an activity that had just taken place; a trace of the energy that just expired. In mapping or charting an activity  within a contained space I at first try to imagine the type of energy I  am about to dispel.  I am concerned with space and movement through the space. Limited movement composes with minimal lines and the boundary defines the character of the energy. It is safe for me to say what I am doing is related to Surrealist Automatic Drawing in a vague way. They were concerned with mining the depths of the subconscious as opposed to where I am, adding to the depth of the subconscious.

The irregular boundaries are a direct reference to the unpredictable nature of chance and change. I believe that we the living are constantly adding to the collective subconscious therefore making it more importantly to provide positive vibes to the growing collective memory bank for future generations. We constantly inspire ourselves to do more if what we do is positive, beautiful and clear.

This irregular boundary has a relationship to the shaped canvas. 2013 paintings 0152013 paintings 016 2013 paintings 018 2013 paintings 021 2013 paintings 029 2013 paintings 030 2013 paintings 032 2013 paintings 033

Read the lines

Lines are like particles,there has to be enough of it around to define a form. The main line in these works,which I feel are drawings with color, indicates a continuous cycle with unpredictable orbits.113_3169113_3171 113_3173 113_3174These are all acrylic and oil sticks on Ink Jet paper, 3′ x 5′ .  I am allowing an amalgamation of my thought process, ability and personality. The lines trace the movement that started a reaction of energy. Each work leads to another.  My approach is a direct and spontaneous action.And I should point out that spontaneity is not necessarily a fast, swift act.

Object Lines

I once saw lines as a way of dodging the object. I felt there is no need for the object in abstraction. But I was wrong. For all the forms that arrive out of the intentional theoretical doodle and abstract shorthand writing my thoughts were mainly on the forms produced and not on the lines that make them happen.

Yet lines by themselves are strong objects and formal forms and not to be confused with the objectified brush stroke.101_3018Here I have an example of a line created with the intention of filling in alternate spaces created by line crossing line .113_3135I use one continuous line that starts and end at the same point for each group of forms.113_3124113_3119113_3129 Eventually I come to the conclusion I don’t have to define a company of forms through blocking, instead, let the lines mature into their own rights like hand writing/penmanship, or algebra and geometry on a school room chalk board.101_3034113_3111113_3107101_3032101_3030

Since the beginning of 2013 I have decided to just paint lines. But what kind of lines. ImageImageImageImage

Painting on wood

Like any other material, wood is just that; material with a surface whenever I approach painting.

A resistant surface makes the perfect surface for me,especially when I am using oil sticks or wax crayons. But it is just a chance material that I use whenever I can get enough of the same dimensions to do a series.  The exploration can start by a single effort which will change through additions or subtractions as the process reveals the possibilities through change and chance activities. I am not really sentimental about wood. If I was I would not paint it.

Freedom of form and dexterity of execution is all that I live and create by. I have never had the luxury to purchase the material  desire to work with, I select through chance. And whatever the material on hand, it’s properties become the main reason for the state of the forms the works suggest.

Like the materials I use I must also seek the right venue to show the works.