Continuing my sketchy marketing education, one expert suggested we tell our potential clients what we offer them. Seems like a fine suggestion, so here it is. What I offer you.

Through my visual art I offer form to those substantial (or fleeting) elements of life and thoughts that are formless: like the state of waiting expectantly for something to happen (A); like trying to figure out what actions—ours or others—mean (B); how to recognize growing despair (C); what that “perfect” moment that we would like to last forever might look like (D); what a map of one’s mind indicates about connectedness or priorities (E); why is our planet’s life carbon-based (F) and are there others? How do our connections—to people, concepts, places, and things—establish our world (G)? I’m inviting viewers to engage: to meditate on these things, to jump in and figure out what is meaningful to them, using their personal vision and an open heart to see form, color and 2D composition—ART—as symbol.

I also find it valuable to muse about things and offer a bit of humor. For example, the fact that most people don’t know that chickens normally can fly (H). Or what would a celestial cherub think about a nearby satellite that sprouted wings (I)?

An age-old debate in art is the question “What is art?” Not meaning to give the answer away (snicker/snort), I would like to say my belief is that art is an elemental force necessary to living a whole life. The purpose of art is to challenge oneself to enter new realms, expand one’s consciousness, and enlarge one’s world. It is a celebration of life’s mysteries. This is so whether the art is an invitation to a story, a dance, a musical composition, a poem, a dish served hot or cold, a movie, video, theater production or visual art—whether figurative, representational, abstract or experiential.

That’s the fun of it.

A Discussion of the Making of "Perseverance Furthers" (at left)

As a visual person and artist I rely on visual cues to understand, remember and express. For those not grounded in the visual, some of what art presents may be baffling, confusing or downright irritating.

Engaging with a work of art demands openness and critical thinking. All responses reflect the viewer’s state at that time. No response to an artwork is “wrong.” What the artist intends is not the “correct” response. This is particularly true with abstract art which freely lends itself to personal interpretation. That is its strength and challenge. Everything I present reflects some aspect of my humanity, personality and ever-evolving philosophy.

A narrative can be useful to further clarify a visual statement. The following describes the process and thought in my presentation of “Perseverance Furthers” (see above). The artwork’s title is lifted from the many I Ching references using that phrase.

I started the composition wanting to express how it feels to surmount something—how it feels to metaphorically climb that mountain, to come to an “Aha!” moment or resolution, to grasp a new learning possibility.

It would be impossible to describe all the nuances in this visual process, yet it may be helpful to analyze the compositional elements.

Visual Elements of “Perseverance Furthers” and their Philosophical Foundation

Brick-like Triangle.  Represents the being in the process of surmounting. It extends upwards, always using foundational talents, perceptions and abilities (bricks).

The bricks themselves are not uniform and alter as they move upward. This represents change as one perseveres in a task or ideal. The topmost point recognizes a plateau. The oval opening reveals a surprising new truth (from the background) which lends itself to an ultimate resolution. The blues within the oval change direction, as needed by the triangle’s progress. Coloring is warm, personable, and includes white highlights.

Big Blue Shape. It functions to obscure and distract the process of unfolding or persevering. It appears to obstruct yet is necessary to the process. It is flowing, contains varied patterned forms that are familiar as raindrops, tears, and jewels. Its movement suggests a wave action: to/fro, one step forward/perhaps one back, the dance of enlightenment. Note that the bricks, though interrupted, continue upward; that is perseverance.

Light Blue(s) Background. That which is felt once the undertaking progresses. What allows resolution, comfort and a feeling of harmony; the underlying order of everything perhaps generated by a benevolent if indifferent power.

Black/gold Branches. Finally! A flourishing, growth, potential is realized. The branching forms echo the patterns found in veins (either blood in mammals or minerals in the earth), lightning, and of course, plant roots and tree branches. All of these echo a pattern indisputably necessary to life on earth. Black is used as a power color; gold represents something of value.

White spaces. The white in the blue form, among the bricks, and in the lower right corner pay tribute to the strength of that basic, certain fact that the earth supports all living things, all colors, all light and energy. The whole composition remains quite beauteous.

Nothing’s overly simple about showing work in exhibitions for an artist, unless an artist is in a position to  donate the work. And then there's not much in the way of tax credit. For example, the feds currently accept only cost of materials.

But back to the process: First an artist has to investigate to find suitable shows for their work. One such venue is to study Art Opportunities Monthly, a vetted listing of hundreds/thousands of opportunities. Each show typically has a theme the curators want to highlight.

Then an artist has to apply, sometimes paying a fee (usually around $35), submit digital images (usually), wait (usually 3-6 weeks) to hear whether the work is acceptable for that particular theme, then, if accepted, get any 2D piece(s) framed ($$). Many shows then take a percentage of the sale price if the work is sold.

Plus there are mandates that differ from show to show, quite outrageously one may think. For example, a recent show sent a checklist of 18 items that participating artists need to address; another has 6 full pages of instructions to follow. And those are local shows. It’s a wonder.

People often ask artists, “How do you come up with this stuff?” In response to that, I thought it’d be possibly illuminating to make notes while working on a new piece of art. The following is an abbreviated account of my process during one session in the studio.

Still there is mystery left unsaid. When I consider movement of a composition, a specific area or shape and color, the answer pops into my head. This might take microseconds or days. I figure it’s divine intervention.

PROCESS:  An attempt to describe the process of creating.

Was hoping it’d be more poetic ... slightly edited for clarity:

1. Tape up Bristol paper. Horizontal.

--Blue, copper, gold – ooh, love the movement of liquid—more!

Stripe it.

Drip … Dry areas make ridges, leave some

Poke, wipe – Bigger color

Movement

Need periods [a euphemism for compositional “stop marks”]

Use template, don’t use freehand brush

Put on eyeglasses.

Draw circles.

Cat [Charlie] has a paw on my foot.

Move.

More circles.

Don’t step on cat.

Five more blue circles.

Change phthalo blue to cobalt blue – little/big circles

Saggy circles seem to work.

Still wet, be careful.

Stand back, look.

Black X on copper areas?

Eyeglasses.

Three more circles.

Hollow X top/bottom to edges, one thicker, one longer

Black Copic marker

So far it looks like a mess.

Paint still wet.

What will bring it together?

Scarlet red circles

No, it’s a mess.

Put away for later.

Clean kitty litter box.

Start new composition

Check email, bank balance, inhale/exhale.

[Note: titled it “It’s a Mess” and later ripped it up as useless after studying it for a few days.]

Studio session continues:

2. New Strathmore Bristol, 24” x 19”, other direction [vertical]--

Use full-size [again]

Assign inventory number.

Tape up on board.

Clean table of former tools.

What is the movement going to be?

Graphite and eyeglasses/coffee.

Yes, a squiggly center form.

Use graphic curve, pattern repeat

Add asymmetry to sides

Get clean dinner plate for large circle.

Outline

Return plate to kitchen.

Feed cat.

Add large square for stabilization.

Add more straight lines/long rectangle to slow down movement.

Erase guide lines

Refine shapes.

Long rectangle—midnight blue with points of light/gold glitter marker/circle—let dry

Adrenaline, getting exciting; more coffee!

Circle variable, maintain random elements

Circle silver acrylic

Work another area so as to not mess up wet paint

Clean drips off floor.

Random circles within circles

What to do with all that space?

Ovals in other two side shapes. Random orientation

Erase middle of top area

Outline shapes in black/NO, Copic  C10 (cool gray)

---Honey interrupt—brief break….

Hope that line is workable.

Background Tombow 555, brush/color as stripe

Outline free ovals, Copic  aubergine [aka eggplant]

Wonder how much the change in my visual expression is evolution or meds?

Not much is changeable with my tools; really appreciated Scott Johnson’s talk about his watercolor work and how he’s able to change things [envy].

…more blue stripes……….

Tombows have an impressive amount of color.

Getting tedious. Oh well.

I usually like using chaos and order. Might not be helpful to people at SE Center?

Silver paint dry, outline in graphite ovals.

Make coffee; return to blue striping.

Red around silver.

Check email while coffee drips; eat Fritos; friend having some success with exhibiting work; glad to see it happening; MCL is needing volunteers.

Return – Oh my! What an image!

Continue blue striping.

Aubergine may need second coat.

Evolution or meds? Irrelevant. This is my evolution.

Back to stripes/DONE! Red now. Look. Sensual, bold.

Rectangle background has to be same blue—connecting lines/blue dotting

Red around silver, Tombow 847, point end

Look. You are the universe. We are stardust. Cells unite!

Yellow around gold; small, Micron pen; large Tombow 055 points; KC Pink Madder

Rainbow color

“Rainbow Coincidence” [title idea]

Cells joining

Sex

Re-birth

“Creation Ideation” [title idea]

When worlds conjoin/come together

Creation

Bottom square=stability/overriding order

White—room for development

Title?

When like and unlike meet (… new forms will generate)

Plaid

Rhythm changes

“Process of Creating” [title idea]

“Creation Happens” [title idea]

“Intersecting Harmony” [title idea]

Cells: repeat rainbow, random start/insert blank (white) between red and purple (beginning and end)….

**********IN THE ZONE – No time to write; suggestive of------

“And then a miracle occurs” from a b/w print cartoon: 2 scientists at the blackboard, one writing a long equation; in the middle is this phrase (“And then a miracle occurs”), an = sign and the equation continues. Other scientist comments, “I think you need to be more explicit here in stage two.”

Note: Composition ended up with the title “Degrees of Complexity.”