As I see it, paintings exist in another dimensional realm before they come into being in this space/time. Even when an artist is trying to faithfully re-create a scene from life, the filtering of the image through the artist acts to create this other dimensional realm. But beyond that, it seems that certain shapes, patterns and colors exist as objects waiting to be brought forth into compositions in our reality. With my "Elaborate Doodles" I am trying to allow what is in that alternate realm access to this space/time with as little interference from me as possible.
Between the painting and the artist exists a relationship that is unique. The artist must impose their vision on the painting, but the painting creates its own formal concerns as it develops. These concerns may be subjugated by the artist in their attempt to realize their own goals. But it is my desire to bring the painting's concerns to the forefront, so I attempt to listen to the piece for instructions. This is the beginning of our conversation.
At the start, I try to empty my mind and allow lines to flow through me while drawing until they are realized into forms and spaces. Once the lines are locked in to this realm, I then set about to define the regions that have been created with various patterns to enhance and coax along themes that begin to present themselves to me. To achieve this, I try to visualize the piece with my eyes shut and recognize any changes or additions that are not yet in place on the canvas. Frequently a pattern will present itself first and then slowly a color will emerge.
My responses to the painting's suggestions are the physical manipulation of the paint and drawing onto the canvas of what I have interpreted from the messages I have received. As I respond, I am lead further in my actions by the painting. It shows me what it wants, allowing the patterns to develop over existing layers of sharpie, paint, gesso and canvas.
I also turn the painting frequently during our conversation. This allows different aspects to emerge from other parts of the painting that may not have been so prevalent from another view. A conversation will continue between me and the painting for many weeks and sometimes months. Usually, the hardest part is having the patience to wait for the next pattern or color to identify itself to me. I have to fight the urge to respond using what I am sensing from my own perspective and wait until the painting itself actually communicates.
I know a painting is finished when it stops indicating areas that need work. At that point, I begin to see objects with stories attached them appearing in the patterns that the painting has instructed me in. The painting suggests its title to me based on what I see in the finalized piece. I am interested in whether other viewers can see what I see, but fully expect each to bring their own existence and subconscious to the viewing, influencing how they themselves interpret the work and what conversations the painting has with them.
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sharpie and acrylic on canvas
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conte and oil on canvas
      
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sharpie on paper
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