Goddamn Darlings

Artist John M. Adams came by the studio yesterday and we talked about process. We discussed how my piece, 100 Paintings, foregrounded both process and design. I think content is available via observing how the maker made the item. Likewise, John appreciated the aesthetics of the thing. So it looks good and thinks good.

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100 Paintings; 2015; one-hundred acrylic paintings on a 20×16” stretcher on easel; 74x37x37”

 

I think I have made many works that are trying to find some axis between looking good and thinking good. Process has been an important component of my work as a means at standing back from painting issues like re-presentaiton, the canon of art, and my skeptics world view. The stretching and re-stretching method of painting was a process based approach to get a leg up on the image – the front of the painting the viewer sees. Painting Paintings at Both Ends was a culmination and cousin of 100 Paintings.

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Painting Paintings at Both Ends, 2017, acrylic on canvas and two stretchers, 50×216″

John helped me realize that I have been bouncing between a content oriented process approach to making and rebounding back towards the most elemental origins of making: the mark. I have recently been just trying to make paintings that stand on their own sans my gimmicks of layering or exploding the painting.

The mark making goes back to some of my first interactions with sticks of charcoal. You put the charcoal on its side, then pivot, leaving its center axis on the page. By doing this, you can make a circle. Or you can slide the stick around and create a network of what looks like pipes. The recent painting is doing this same athletic gesture but with the brush.

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Untidy Pivot, 2017, acrylic on canvas, 28×28″

 

I followed Untidy Pivot up with Sixteen Cornered Darling and an as yet to be titled painting yesterday…

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Sixteen Cornered Darling, 2017, acrylic on linen, 19×19″

 

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currently untitled, 2017, acrylic on linen, 19×19″

and today. This one might look black and white but it is actually very dark blue.

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A 42 Broken Arm or So, 2017, acrylic on canvas, 50×50″

 

I am already seeing a problem with these paintings (and why I have done the more process oriented works in the past): the paintings are pretty, sensuous, and goddamn darlings. So I need to think about them but they feel good.

See more of John M. Adam’s work at his poetically titled website:

thefullempty.com

 

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