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.......Over the
years, I have maintained a staunch conviction that the
artist need not destroy the disciplines and techniques
of the past in order to become truly original and contemporary
- modern even. It is equally true that the artist does
not need to destroy the contemporary genre of abstraction
and abstract expressionism to remain contemporary -
even modern. Such has been my experience. As I continue
to experience great satisfaction and inspiration in
drawing in any of my three styles, I marvel as well
at the unique experience of being able to draw “outside
the box” in my large abstract paintings on a road
to abstraction I began during the fall of 2002. Not
that abstraction is new to me. I have had my flirtations
with abstract work for nearly thirty-five years, but
each work, of which remain only a few, was a mere experiment
of the “I can do that too,” imitative kind.
However, I took to the road of abtraction with a serious
yet playful determination in 2002, when I began a number
of “concetto” drawings in chalk on paper,
followed by a number of contetto works in paint on paper,
and again to be followed by abstract works on canvas.
.......The experience
was overwhelming. During one given period of time I
would be working on an academy drawing while a blank
canvas waited in the other corner. No sooner had my
fingers rested from the disciplines of classical drawing,
when I took brush and paint to begin a creative assault
on the waiting canvas. The results have been at complete
opposite ends of the spectrum. It also brought to mind
the similarity of my road to abstraction to the journey
of faith. Neither have a clear vision of what lies ahead,
abstraction and faith at best holding a promise of a
new tomorrow, and at times both seem to wander towards
a dead end. But faith and patience are kissing cousins
and the same holds for realism and abstraction. Faith
in the creative process clings to the higher road of
trust in the artist’s ability to use skill and
inspiration right to the ed of the road. It is when
this road ( to abstraction ) ventures far from my proven
track of classical drawing, the decision to travel so
far from familiarity becomes intimidating, sometimes
even frightening. But I did press on, only to find no
dead end at all. Instead, I found a junction from where
a broad road branched into any number of new adventures.
I have taken that broad road and to my surprise found
the roots of an ancient artform ready to nurse my creative
hunger and satisfy my artistic thirst. .......
Because abstraction does not exist in a realm of its
own, it needs roots in realism. All abstraction is an
“abstraction” of something real whether
that realism is size, form, mass, line, colour, emotion,
intellect, and subject matter. Years earlier, I began
a series of chiaroscuro drawings during our Monday evening
studio life drawing sessions in Nanaimo. The drawings
were really no more than sketches that ranged from one
minute to thirty minute poses. I used conté chalks
for the drawings. After quickly laying down a gesture
in chalk I worked over the drawing with chalk and rubbed
the chalk with tissue paper. Once a certain tonal value
was achieved, I proceeded to “back-draw”
over the rubbed chalk with an eraser. The eraser became
my most predominant drawing tool. The effect is a heightened
dark & light drawing called chiaroscuro. The chiaroscuro
discipline dates back to Renaissance masters of the
fifteenth century. .......It
was during a time of contemplation, when I sat in my
studio with my proverbial 50/50 flavoured coffee, staring
at the abstract paintings I had created, when I wondered
about the shapes within the shapes. I was quite satisfied
with my large action paintings even to the point of
allowing myself a faint resemblance to Jackson Pollock
by giving the abstract technique a “pollocky”
adjective. But I did not want to just imitate someone
else’s work. The “pollocky” adjective
was merely a temporary bridge to help explain where
I believed to be on the road to abstraction. Had I reached
a dead end? .......Perhaps
the warm soothing taste of my favourite coffee prevented
a complete descent into creative depression, because
somehow I felt there was a way out of the presumed dead
end. I stared at one painting, titled, “One Hundred
Proverbs,” for a long time and all of a sudden
an image emerged from the painting, an image that lay
as if “trapped” inside the myriad of lines,
splatters, and drips. The effect a vision of heightened
mass & line images akin to my chiaroscuro drawings.
I asked myself if it were possible to learn from yesterday’s
disciplines to create a way towards expressing that
vision in the here and now. How could I “back-draw”
with an eraser over these abstract paintings? Could
I “back-paint,” with white or black acrylic
and enamel as my “eraser”? There was only
one way to find out. Jump in the river. .......I
was truly blown away at the length and width of the
new road that now spread out before me. After venturing
many miles from the known highway of drawing comforts,
I had not found a dreaded dead end, but a brand-new
highway. I was elated and spared little time in sharing
my elation with Alice and a few trusted friends. Not
only was my elation the result of liberating the shapes
within my paintings, I was equally thrilled with the
prospect of proving once and for all ( at least to myself
) that abstraction can be a fulfilling partner to realism
and the two need not be enemies for life. In fact, one
becomes creative fuel for the other and both leave no
choice but to “fly with the eagles” along
both roads, the road to abstraction and the road to
representational realism. Only then can one claim to
be a master. But the road to representational realism
comes before the road to abstraction. One must earn
the right to abstract because abstraction must have
realist roots otherwise it is a cloud with no water
and a clanging gong or that other of creative insults,
namely “art for art’s sake.”
.......That is why for
the first time in my life I do not feel apologetic for
my abstract work, especially in the face of comments
such as “what is it?” or “anyone can
do that.”
.......I have earned the
right to speak abstractly because I have proven to be
a master on the other road. My abstract work has good
roots. Sometimes the pressure of acrylic landscapes,
genre watercolours and oils, and the never-ending tyranny
of realism, becomes too much to bear and I yield to
thoughts of temptation that offer solace in an abandonment
of abstract work and painting. It is always a temptation
to return to what I know best, namely drawing and the
human form. Yet, when I indulge in realism, creating
yet another academy drawing, renaissance drawing, or
a mixed-media drawing, or silverpoint work, I start
to dream once again. As satisfying and fulfilling as
the drawings may be, I dream of drawing outside the
box along a road to abstraction.
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