Exchanges with a friend - my reply:
I definitely did not compare all of my work , as I work on many different 'painterly problems' , - with the Japanese, but only a very small section -
where I just placed a tiny bit of color, form right on the edge.
I found it interesting that someone else also have a bare space with just a minute form on the edge.
I can't find examples of that, a mark on the edge now as I have thousands of images.
But found a few other examples.
Most artists work only one one or a few problems - like Twombly, Still, etc.
A handful of us , like Klee and Richter, work on a certain problem, dissolve it, then move to another problem, etc etc.
We never have only one style - or solution to one problem, for as soon as we have solved a certain problem (our what is know as a 'style') - we reject it , go into some sort of chaos, identify another problem in that,
and solve that again (thus many styles).
I found it interesting that someone else produced work that had only a few small, minute forms right on the edge of the support - as I've never seen that with anyone else.
Anyway here are a few images that are minimalist. I can't quickly find ones where the image lies on the edge.
The majority of artists are satisfied with the solution to one problem they develop - that is also known as their (recognizable) style. This is what this Japanese does - his style.
When I wrote 'solving problems', I did not mean in a rational manner, but pre-conceptual or sub-consciously, the domain of the so-called 'creativity'.. We must use concepts to think and talk ABOUT that, but then we are immediately entangled in words and more words and the need to construct arguments, so as to be able to express oneself and communicate in a dialogue or having a discourse. I once said to someone who lectures and writes on these things: what he does might be necessary to obtain a degree in theory of art, but it is irrelevant to the practice of painting and other art forms (his theorizing about culture,arts etc) . And, I doubt that van Gogh or Michelangelo had a copy of his ideas in their left hand while working, using it as some kind of rule book or canon of how to paint.
my email to a fried:
STAND AT A DISTANCE WHEN YOU VIEW THE SLIDESHOWS
SO THAT YOUR BRAIN CAN CREATE THE IMAGE AS ONE WHOLE
rather than merely looking at aspects of the image
From the excellent website ARTSTUFF.net.au
The gentleman has excellent insights and ideas both as a painter/artist and for viewers and students, as he is a lecturer as well -
How to look at my , or any, work of art -
from ART STUFF November, 2011
1. The Formal Framework - Visual analysis - Technique - Style - Symbolism and metaphor.
2. The Personal Framework - Reflects the artists life - Links to other aspects which may relate to the artists life.
3. The Cultural Framework - The influences of time and place - Connections to contexts and cultural purposes.
4. The Contemporary Framework - Exploring contemporary issues.
Work uploaded 20 February, 2012