Metaphor is a representation of the visual forms of which symbols recur back and forth as a greater part of the creative life-force. In the condition of condition of events, historical or otherwise it drives the artistic output.
It is quite a wonderful opportunity to be in the company of artists. It is with such an opportunity that this occasion afforded an opening to survey the works of one such artist.
In this survey are excerpts of completed and incomplete water-media paintings (aquarelle), themes central to this discussion. Focus is placed on works in progress, the artist point of view and processes that targets watercolor as a media and its application exclusively. The article also points to other works that surrounds the production in order to cast light on the entire development of an artist and his/her evolution.
The selected artwork of this post details a cross section of large format watercolor paintings that measures 7’. 5″ x 7′. 5. In the studio there is a combined collection of finished and unfinished works. The watercolor paintings uncover a degree of unorthodox methods in application. The artist control of his media on paper suggests that technique and treatment follows some traditional norm in technique an expressive execution. Yet the artwork embodies some history and tradition in practice. Seemingly the artist is un-afraid to venture into patterns of departure that projects the rich and vibrant complex materiality of light he desires in order to project a powerful vibrancy to his creations
The artist engage the paper before him, bereft of image, he took several paces forward, brush held aloft, he gestured, moist saturated pigment dripped from the paper. Succulent as the soft delicateness of an overripe mango, fresh and unrehearsed he painted. Ritual perhaps? Everywhere there are flowers, carefully placed; unfinished pieces of artworks lay about, some hanging and others in various stages of completeness.
On the studio north wall hangs an out-of-place clock upside-down, if by purpose or accident or an intended gesture, it is an object that immediately catches the eye. Perhaps he intends it to be a comment or a statement of time. The clock define occurrence perhaps, an object that will soon take its place in the creative forces of life in art.
A soft warm spring light graces the oval face of the clock. Its hands flawless in movement and beat are trancelike and are itself an object of thought and process. “Love of ten Springs” he repeated, moving back and forth, sideways, left and right, alike a ballerina’s adagio. Large sheets of handmade papers populate the studio central wall, virgin white and under plastic covers waiting to be touched by the artist oversized sumi brush that graces what he refers to affectionately as Madame Tensprings.
It is early morning Saturday, the customary hard light and morning din has been turned down, not many moving vehicles and thunderous garbage trucks banging their way into an otherwise sonorous hell on Wall and Boyd streets.