Diamonds in the Rough and Their Discontents

“Overall it is bad, but each painting is good.”

I just muttered that to myself. This painting will likely not be too great. It is patchwork, differing in approach in singular spaces. It has differing tones, differing values, differing form overall. In essence it will likely fail the unity component of design. It will contain variety, but too much. That lack of balance might make it stumble. Though it is being made by one person, and that person is using their general approach to painting, that does not seem to push the thing towards an overall balance between unity and variety.

This issue has occurred with previous paintings. When I have used this stretch/re-stretch method, the paintings have been disjointed or randomly generated.

 

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The overall compositions are generated mechanically, yet jumbled together. I rinse and repeat the square and rectangle stretcher, which maintains a sort of mechanized distance. Akin to Jean Arp’s torn paper and gravity combo generated compositions.

jean-arp-collage-with-squares-279x395

Untitled (Collage with Squares Arranged according to the Laws of Chance)

By dropping and glueing he could step back from the urge to design. This occurred with Jackson Pollock drawing with drips. Letting physics make the painting.

So this process is akin yet curated. The issue is, is the overall work good? There are great individual paintings within the overall piece, but the greater painting together might be a train wreck. The following are paintings within the overall painting that I think are functional:

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2016-10-07-17-04-15

2016-10-02-17-57-25

The question is, why are these working and why would I think the overall is not? Because the overall is Jean Arping and the singular paintings are curating. Goodness is also occurring because the individual paintings are being made in ways I would not normally work. I wouldn’t normally make paintings like these. There are definitely recognizable Jay gestures present, but many are occurring purely due to the process.

Something to take from this is an analysis of my own judgements about painting. What is this urge towards design? Why must the painting be designed well? Why be concerned with a finished goodness?

 

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