painter w restored elbows round two
someone asked me to show the process i go through as a painter.
and, i'm not even sure if they check flickr that often, but here goes anyway...
i usually battle a minimum of six or seven rounds on a piece. these rounds can last from being worked on twenty minutes to five hours each day for a week or two until i establish what i call a "coat", which means all areas of the canvas have been completely covered with a new skin of color. i let color speak to me and the compositions now just ask for what they want and i try to fulfill their requests in the same way a mischievous lover delivers a valentine -- if they ask for a peach, give them a peach inside the heart of a living pearl!
and, i have found that the reality is that if time passes on a piece, it ages better. it has a personality. it has a soul of chronology. it lived through my life in order to have existence of its own.
i guess i sort of realized that i'm painting love letters to the future in my art.
i used to try to do it with literature, but it wasn't something that smiled back at me.
with paintings, i feel like i am already visiting that future, so it is smiling through me.
i am pursuing this. and sharing it, too.
i can't share all of it because the art is a waking meditation. and i can't explain it to people who won't understand.
i have tried.
i am not trying anymore. those people can read a book or do something active. or not.
back to time...
only really, really great pieces that burn a hole in time happen quickly.
a lot of people don't realize this. they don't really see the process for what it is, and i guess that's why i was asked to show it. something fantastic emerges with GREAT art in the same manner of a living creature -- whole and no longer attached to its maker.
but good work isn't like that. good work is slow and process-oriented. it is a discovery, not a revelation. i like both. but most of my work is just good. it's meant to last.
i use more than millions of colors in my pieces. i use billions of colors. and then i reverse all of them, lol. who came up with the separatist idea of prismatic logic?? fking bullshit and billions of colors. that's a fiscal bank talking. nail that jesus down!!!! thus spake mr. z!
anyway, the result of color + time in my endeavors creates a hyper-real sensibility without appearing very realized -- a medium, deeply saturated buzzing vision that vibrates between the pornographic power of the camera and the spiritual guidance of the brush. the effect is that you can be there if you want. you can dive into my pieces in the same way that mary poppins jumped into those wonderful chalk drawings.
that was my probably my true inspiration and fascination for art as a starting point.
that was the very first time i saw and understood what art could do. i was five or six
when that scene in that movie changed my life forever.
i wanted to paint like that.
i wanted to make a world that i could go into and others could, too.
a place that was safe and fun with lots of details, but a lot of blurry unknown.
usually a round of painting can be two or three coats.
stay tuned for round three... :-)