JP's Description: Large diptych drawing from attic series.
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Hi JP. I really like this drawing. Its original but it also walks in the Futurist- Early Duchamp "Nude Descending A Staircase" hallway. Cortland
Hello Cortland... did you see when it was done? Twenty years ago! It feels like something from 100 years ago even to me! Those days I believed in my role as an artist.. something that got lost over the years. I suppose you can tell by the arrogant confidence of the drawings - even the scale has the stance of "Here I come guys!" I find that quite amusing now looking back.
Hi JP, Yes, I did see the date... the work holds up especially the right side which is truly excellent.....!Size,well I guess most young artists want to explode out into space especially when most of what attracts their early attention in museums are the massive works. It wasn't until I discovered people like Paul Klee, and then all of the Minaturist schools that I finally broke away from the feeling that I had to do large things in order for them to make some kind of a statement. You know the old adage about experience being the best teacher. I still entertain the idea of doing some massive works if I can ever afford a space where I can really throw paint around and make a mess out of things. You know get my work boots really dirty etc like those of Pollock . I still have a dialogue with "Blue Poles" to complete....!
Dammit... I always forget to login and end up losing the comment I've just made.Anyway, just to try and think what I was saying.. You're obviously smarter than me.. I still end up after completing a piece having to cut it up just to get it out the door. What an ass!I do associate small with intimate and intellect, large with physical and sensual. Is that how it is, or it's just a simplification?
Well you've got me laughing about this cutting things up stuff. Years ago when I lived in the middle of France I stretched this huge canvas in my studio, and then worked on it like hell for months. Then we decided to move, and the only way to get the painting out of my studio without unstretchingit was to take it out by the 19th century window which just so happened to be on the second floor. The day we moved it was pouring rain, and things got a little slippery. Fortunately noone got hurt. When we finally arrived at our new home which is on the third floor we couldn't get the stretched work in the elevator, and we couldn't get it up the stairwell either, so I had to create a pulley system in order to finally get it into my new studio; the expressions on the faces of the neighbors below while we hoisted the work slowly upward was a sight to behold....I'll spare you the diverse linguistic details of the event. These days I only work up to a certain size, having made all of the necessary elevator measurementsetc to insure that I don't have to undergo any more Chaplin like adventures due to not thinking things out beforehand.
JP, I think most people generally associate small with intimate-intellect, and large with physical-sensual, but those are really just generalities.Each work is a totally new experience, even when one is passing over familar ground. Once you get past the vocabulary of the familar, and you're truely concentratedall four of the incidental relationships that you mention come into being with a work. I think what happens with drawing is that one might feel the intimate relationshipin a more direct way because drawing is usually a more direct form of expression, and therefore one feels more exposed, and immediately sensitive to what is going on.
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