#125 – Tuesday, August 13th
The last time I read Wassily Kandinsky’s seminal tome “Point And Line To Plane ” I was in art school, but it often comes to mind. Originally published in 1926, it puts forth Kandinsky’s theory of abstraction in a precise , methodical fashion, and what resonates for me, the marks he made had specific meanings, allowing the viewer to experience a painting intellectually, emotionally, and spiritually through his combining the attributes of points, lines and planes. I’m being terribly simplistic here, and for a complete rendering of the Kandinskian perspective on non-representational art, I would recommend “Point And Line To Plane” to anyone, it’s a fascinating read. . . . anyway back to the issue at hand. In my work, while I favor certain shapes, and colors, I trend toward a more expressionist approach but . . . at times . . . progress shudders to a screeching halt. This is when I call on the “Kandinsky Effect”. I shamelessly troll back through my overture searching for a point, line, or a plane, to insert into the work in progress, bringing it to . . . well . . . the perfect articulation of the moments endeavors. On reflection of this process, I find I always come back to a distinct set of marks, while dispersed throughout decades of image making, they define my voice.
The re-appropriated shape taken from a painting I did back in 2002, “In The Absence Of History”. Its genesis, observing a flock of birds fluttering between trees in the garden. This alliteration is turned on its side and filled in.
Thanks for reading.