keep you knees in tight – part ii

by maggie

Where does my work fit? If I knew that I won’t be posting this on this blog.

I look at things and they fit into all the other things I’ve seen and thought about.

Right now I’m sitting in the Great Court of the British Museum. I’m looking at the limestone walls and the curved glass roof. I’m thinking about sunlight and shadows; warmth and cool stone. As well as visual sensations there’s also texture. How smooth are the finished blocks compared to the ground glass of the table under my notebook.

Now I’m thinking about the quarry where the stone came from. Cold winds and scratchy plants and the fault in the rock where the rock doves nest. One day it might fall, that whole section of the cliff. All these things come to mind as I sit here waiting for my companion to get their fill of the greek dudes, and i haven’t even mentioned the tired French boy and the tall wooden totem poles.

There are lots of association here and possibilities in the moment, but you can see where my head immediately went – stones, landscape, weather (in the middle of the city). I am pondering what visual representation could I make to catch this feeling and spring and time and endeavour. It’s quite different from drawing some plants and making pretty things and I discussed last week. If i had a camera I’d take a picture of the wall where I am sitting – pink creamy grey,  inset black framed windows in steep perspective, patterned by the moving shadows from the roof in distorted triangles that fade and blur the nearer they get. Nothing is square and nothing… (Just ignore the coffee concession, the public and the artefacts at its foot.) The colours would be very important and the geometries, and the effort…

I thought i could tell you my favourite painters, but then you’d need to know why they are my favourite. I have favourite paintings, some times that has to do with nostalgia for childhood spent trooping around galleries. I can tell you I don’t like Gainsborough – the hyperreal people – yuck!, or any painting like that really.

So while I was compiling a list of links in no particular order – Rothko,  William Scott, Signac*, Diebenkorn (Must go to the show)Victor Pasmore, Vermeer (as more than a place holder for the Northern Renaissance. I came across this article on an art movement labeled Colour Field. So while i’m not the worlds biggest fan of Art Theory –  I really should read the rest.

*okay- a came a cross a great tree painting of his in Moscow and I’ve never been able to find a copy anywhere.

So one one level I appreciate the surface arrangements of things on the canvas, I also want to know, for feel, what it’s like, what it means, to need to make the picture. It’s a skeuomorph for a feeling or a moment. Now I know i’m over thinking.

And that’s why my out put is rather limited. I want to put more than I know how into my images. I work small, because I don’t have much elbow room, and because I don’t know how to recreate the mountain without the sunshine and breeze, the smell of the grass and the sound of the birds crickets.

I don’t know if that answers the question, but it’s helped put somethings into perspective over here.

MER

 

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