"Remember Mr. John T?"

"Remember Mr. John T?": the first in my medetation on time space memory and process
1/8 cowboy remember when i started this one guys?

This is a peice in progress. A peice that focuses directly on time memory and process. Here i am likening a life time to any sort of crative process, but the painting's process is the direct comparison. I wanted each layer of this painting to stand out. The order they were placed is easily determined, with sublte strokes infront and behind eachother. The grid is to make a statement on documenting time, like a graph, as well as the techincal process involved in painting, all while the figure is out of porportion. The skewed porportions comments on how the memory skews certain facts and parts of one's life, but still translates the important and main ideas.

Amazing to see in Person

Barnett Newman
American 1905-1970
The Beginning 1946
Oil on Canvas
“In the 1940s Newman became preocupied with the Old Testament story of creation and began selecting titles that referenced the book of Genesis. In The Beginning, the bands of paint that emerge from the base interrupt a richly variegated field of color, a sort of primordial fog. The artist created these stripes with masking tape, which he applied to the canvas as a guidline before adding the surrounding color. This work is an important precursor to Newman’s mature paintings, which are characterized by a single verticle band, or ‘zip,’ that devides the composition.” –(Chicago Institute of Art)

Margherita Manzelli

Italian, Born 1968

Dopo la finne (After the End) 2008

Oil on Canvas

“Margherita Manzelli creates hounting, oddly ravishing images of solitary women. Her Meticulusly crafted paintings and delicate works on paper imagine wan, languid, at times emaciated or subtly deformed female characters isolated within an abstracted, pictorial dream space. Almost always seated or otherwise recumbent, the mute still women are engaged in no activity other than staring, their penetrating eyes locked ina weighty knowing confrontation with the viewer. Manzelli’s spectral women seem painfully aware of the fact that they are on display. Her characters are often attired in or surrounded by colorful, richly detailed clothing and textiles. Importantly, the artist does work from photographs and does not use models- thefigures and their enfiornments come entirely from her imagination. Although this figure does resemble the artist, Manzelli does not consider her work to be self portrature.” -(Chicago Institute of Art)

Chicago: And the Search for My Mental Drain-O

this is me getting my tourist on, photographing any thing that i saw that i didnt already have in the town that i already live in.
I have been in a horrble block and in need of serious inspiration for technique and subject.

So i do believe that this trip really did help, or renewed the vigor and vim that i have for art making. I did begin to rely less on what the final productg ought to be, but what process got me there.

Just like the 8 hour drive to chicago. Going into it, i was more focused on what would happen when i got to chicago, and did not attempt to enjoy the process. The trip is often just as inspiring as the destination. Awful cliche, but terribly obvious that its not just by chance that it often is. As people we tend to forget to document the process. We tend to forget to note or acknowledge what got you to where you are. And that is what my focus is for the few pieces in my mind at the moment.

A group of meditations on: time, space, memory, and process. In a very small way these photos document the process or drive that it took to get to chicago, to my illusive inspiration.