Even though this is rather discouraging and has it's frustrations, I must keep my mind working on art. Due to the business I've had to do physical work to meet the demands. So the further distraction is the many new muscles I've discovered I actually have. Aches and pains though will not keep my mind distracted.
You see as an artist, I must continue thinking and meditating on what it is I wish to express.
In fact a few days ago I had a "EUREKA" experience. A true "LIGHT BULB" moment. Really, I know it's hard to believe but it is true. It happened on Saturday Dec.13th. in the shower! I know, I know, how cliche can one get, but it is the truth.
Those of you who follow me know I've been preparing to create on the subject of suspicion. I've actually done a sample piece, a rectangle with key holes in it, just to experiment with the rectangular shape and get into the subject. I abandoned the first piece and finished the second. Yet I was not happy with even this as It turned out stiff and boring.
Now this is kind of embarrassing to admit. Isn't it strange how when you find the solution to something, it seems so simple. You wonder like I have here, how did I not see this before?
Well, I was so hooked on two things, first it was using the formal way of making the rectangle, using the four side panels and stitching the length of the four corners together, which if you are doing a relatively
square or rectangular box works just fine. The fact is that mechanically, every time you put a dent into one panel it affects its length and how it connects with the panel on each side. Nothing but complicated trouble ensues as the panels on every side were going to be dented so to speak. Using precious time correcting and adding clay in weird ways to make it work.
The second was the idea that the rectangle had to be a certain height. Well, it could not go beyond 24 inches due to kiln limitations so that's what I was aiming for. Another unnecessary
problem to give myself.
On the right is a drawing I made after my enlightenment, one of the "Totems" I'm planning to make. Notice there are four rectangular boxes all the way up. Each one will simply stand upon the other. The "Eureka" idea of was that I can make each box as one single piece working from the bottom up, going round and round the rectangle as I progress upward in the making of the rectangle. No panels to match, just create and let the edges take care of themselves along the way up. Soooo simple. Then as to height, they can be any height, just not higher than 24 inches. So there is no need to extend it to that particular height if it's not required. I can go to the height needed to express that idea and stop, leveling it off there. It could be six inches or 17 inches who cares? The next piece will just stack on top of it. Again, simple.
This new approach also addresses other issues such as painting the insides black or whatever, which I can do much easier as I can do it as I progress upward with each piece. Much easier than trying it when it's done and closed in.
Instead of being depressed with not getting back into my studio, I've actually solved a problem which has changed everything about what I can now do with these pieces. It has given me freedom to execute much more lively, exciting, fun, serious and dramatic work!
The piece you see drawn is a draft of an idea of dealing with the theme of "eyes, looking and watching" when it comes to suspicion. The bottom is like faces pressing against cloth, with light shining out through the eye openings, the second is a disco ball of eyes with mirrors in the pupils, a light will shine on it and it will throw beams everywhere, like the "all seeing eye." Next one going up is a figure in agony hanging from the hundreds of eyes looking at him from around the edges of the box. The fishing lines will come out of many of the eye pupils. The fourth up is two hands juggling eyes and at the top we have eyes like que-balls stacked to a single eye on top.
Am I excited to get back into the studio now? You bet.
is not one has better abilities or ideas,
but the courage that one has to bet on one’s ideas,
to take a calculated risk – and to act."
– Andre Malraux