I like to work at night. Mornings are for evaluation, reviewing the prior evenings exploits . . . my afternoons are for pondering and reflection on the what ifs and what nots . . . and as the sun goes down . . . then I paint. When I’m in the studio late, time stands still and the ghosts that inhibit my hand flee under night’s blackness. The unleashed dog, wild horse, strong wind blowing, mystery achievements scratched out in broad brush and slim piece of lead. Night envelops the bumps, blemishes, and odd notions that require a more studied honesty underneath the illumination of day’s light, in a forgiving glow. And as morning arrives, the appraisal of my efforts is fueled by a strong cup of coffee and the knowledge I’ve all day to consider my handiwork and prepare for my next adventure.
This canvas was featured in the post “The Strange Life of Blue” but I’ve made a few adjustments in the drawing elements, since then, and have come close to finalizing its text accompaniment as, “Architecture of the Final 14th Mystery with Randomized Excuses”
I’ve a long-standing interest in how language influences the interpretation of images (and vice versa) and consequently this “interest” has played a major role in how I name my paintings. In short, during the development of a particular canvas, I keep a diary of the flotsam jetsam of words that catch my eye and ear, and as the painting nears completion, those notations are synthesized into the assemblage that functions as its title. A partner of the visual experience, rather than an explanation of it.
Speaking of the next adventure . . . a detail of an odd beginning, all pointy and all up and down . . . and tonight ?
Thanks for reading