figurative work as
MARKS ON PAPER
From a professor in the USA on work -
Insightful piece of writing. Your work is reminding me more of Chinese
calligraphy now, the kind that Merton was playing with - all done
quickly. As Life emerges from Formless Spirit, it becomes apparent to
consciousness in an unadorned state. If I filter it through thought and emotion
it becomes something else, something from the past, something from the patterns
I can recognize readily. Having done that, I try to take control of it
without realizing that's what I'm doing. I put it on canvas, paper, a
piano keyboard, whatever container that I can find to receive it.
Your "marks on paper" invite me to see a cityscape (perhaps?) before it has
familiar pattern. All I see is an act of you breathing out. I can never "trap"
it because it can never be more than air or a Rorshak blot onto which I
project the past.
mere marks on paper..
A figurative painter or photographer
(and viewers of their work) may mistakenly think when work is viewed
that they perceive 'a real tree, a real person, a real flower, a real
house, etc'. But what the viewer is presented with and what the artist
produces are 'marks on paper'.\
An artist in the 'contemporary
period' (that is, Post- WWII, Pre-WWII are usually referred to as the
'modern' period) however, is aware of the fact s/he produces 'mere marks
on paper' (or whatever support s/he
employs). What is perceived (and interpreted) 'as if' it is a 'real',
more or less, three dimensional rose, face, figure, mountain, house,
etc are really nothing more than 'marks on paper' 'resembling' and
giving the illusion (in the mind of the viewer) of a 'concrete, three
Compare these two works as examples of mere marks on paper -
the one is mine, the other, dating roughly 1889 of Whistler, British 'landscape' painter.
ulrich 2 May 2015