24.05.17 - Motherwell, Klementovich, Pobatschnig
Motherwell, Klementovich, Pobatschnig
When you enter Jeannie Motherwell’s studio, the large expansive abstract paintings
really grab your attention. She grew up in a home of abstract painting with the influences of her father, Robert Motherwell and step mom Helen Frankenthaler. Yet her own work is strong and bold with rich dark colors and a splash of cadmium brights.
Her own artist’s statement says this, “I am amazed by the images and mysteries of creation — like the oceans and skies in changing weather, Hubble-type images of the universe, and my own physicality during the painting process.” When you see her work, it feels oceanic. It is true, Kristen and I can contest the ocean feel of her work.
Our visit to Motherwell’s studio was inspiring as you can see her raw talent and perseverance. Jeannie, told us that Helen Frankenthaler never put being a women as an obstacle she just painted, and kept at it.
We send a special thanks to Jeannie Motherwell for being an abstract artist and showing the way.
30.03.17 - Argentine Tango and Brush Strokes
A few years back, in midtown Manhattan, I was taking tango lessons from Musa. What I learned from dancing was- it is a lot like painting. When you push the floor with your feet, it is the same movement of the pushing of the brush against the canvas. They both use friction to make the movement.
Kline was painter. He understood movement. You can see by the energy in his work, he took huge chances with his brush strokes. His massive strokes of paint must have been done with a forty five dollar large brush that would later take an hour to clean.
Here in this tango video, Musa and I must have danced a good 400 hours to get to the quality of these dance steps. The small circles of movement by the toes, the tango wraps, the kicks and the WALK are all brush strokes in my world. Pushing, sweeping, gliding, and listening are the elements for not a good brush stroke but a fantastic brush stroke. The same for the dance step, you can take a halfhearted step or you can take a large, broad step. It is in the detail of quality of the movement.
26.08.14 - Kandinsky and Klementovich
Kandinsky’s paintings did not feature any human figures; an exception is Sunday, Old Russia (1904), in which Kandinsky recreates a highly colourful (and fanciful) view of peasants and nobles in front of the walls of a town. Riding Couple (1907) depicts a man on horseback, holding a woman with tenderness and care as they ride past a Russian town with luminous walls across a river. The horse is muted while the leaves in the trees, the town, and the reflections in the river glisten with spots of colour and brightness. This work demonstrates the influence of pointillism in the way the depth of field is collapsed into a flat, luminescent surface. Fauvism is also apparent in these early works. Colours are used to express Kandinsky’s experience of subject matter, not to describe objective nature.
Saatchi picked one of my paintings for an online group showing of Kandinsky’s work. This collection was picked by Rebecca Wilson who is the Chief Curator and Director at the Saatchi Gallery, London, where she was the main person for the gallery’s online presence.
I’m very pleased to let you know that I have chosen your work to be featured in the Inspired by Kandinsky Collection on Saatchi Art’s homepage. You can see the collection here I’m very pleased to let you know that I have chosen your work to be featured in the Inspired by Kandinsky Collection on Saatchi Art’s homepage. You can see the collection here: http://www.saatchiart.com/art-collection/Painting-Mixed-Media-New-Media-Art/Inspired-by-Kandinsky/153961/23244/view My painting that was selected is entitled, He is all Pine I am apple orchard.
14.07.14 - Janis Pryor and her color truths
I am lucky enough to be having a private show with my good friend and color maverick, Janis Pryor. It is true we both live in God’s country, among the small remote towns that speckle the foothills of the mountains. We both strangely have this love of the obscure French painter, De Stael.As strange circumstances always make the best partners in the art. Janis and I have
joined forces to show our Abstracts together this July 26th from 4-6 at M and D playhouse,in North Conway, NH.
th from Color is the subject of my work, primarily (but not exclusively) articulated by mediums not traditionally associated with abstract work, soft pastels and oil pastels.
The truth is artists are problem solvers to one degree or another. Questions drive my work. What constitutes the boundaries of beauty? At what point can you introduce an element of dissonance that:
- doesn’t compromise the integrity of the medium;
- doesn’t jeopardize the success of the work without having it succumb to the sentimentality of prettiness or become unintentionally decorative?
- How can you manifest emotion, and stir the viewer through color, without melodrama taking over?
- Can color become a form of visual poetry and transcend the theories that define it?
Over the years, my work has been influenced by the paintings of Mark Rothko, Jules Olitski, Helen Frankenthaler, Nicolas deStael, Morris Louis, Claude Monet, Edgar Degas, the drawings of Rodin, Michelangelo, DaVinci, Gustav Klimt, and the architecture of LeCorbusier, Zaha Hadid, Frank Gehry, Robert A.M. Stern, Hugh Newell Jacobsen, and Sarah Susanka.
I’ve been making art since I was five. My formal studies began at the age of thirteen. I was accepted to the High School of Music & Art in New York City, and became an art major focusing on painting and architecture at Bennington College in Bennington, Vermont. I spent roughly thirty years helping “change the world” through professional employment in politics and media. Three years ago I returned to my first loves, the visual arts and writing. I teach “Drawing From Within” at Living From Within, the holistic health center located in Conway.
10.05.14 - Anais Nin and a state of floating
Anais Nin’s Dairy has a fanatastic quote I wrote below. I must admit, that I don’t understand all of if,
yet it sounds so wonderful.
There comes from our obstinacy in maintaining that
paradise is a garden. The psychoanalysts have added
to the confusion by interpreting the gloating dreams
as a flight into space. The mystic is the only one
who knows that all states of ecstasy are a
state of floating in an ambiance more heavy than
I say., but do not repeat it to anyone who is
not ripe enough to receive it. Paradise is at the
bottom of the sea. and I can also prove to you that
angels are ships. They have no wings but large sails
which they unfold noiselessly at night to cross
eternity. ” Anais nin.
10.12.13 - The next morning……………….
Other artists also are affected by their studio such as Philip Guston. He says, “I am a night painter, so when I come into the studio the next morning the delirium is over. I go into the studio very fearfully; I creep in to see what happened the night before. And the feeling is one of, “My God, did I do that?”
12.09.13 - Why swim alone?
It is true the painting was a 54×54″ painting.
“Once you have tasted flight, you will forever walk the earth with your eyes turned skyward, for there you have been, and there you will always long to return.”
Leonardo Da Vinci-
I find this true for painting, flying and swimming. Photo taken at Rock River, Willliamsville Vermont
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