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Reactions to
the new paintings are very positive for what it is I am
striving to achieve. The work has proven itself (at least
locally) to have engagement ability - interacting with the
imaginations of the viewers. Some viewers picked up on the
energy of the work and just smiled or turned away - one
person almost began crying as he sensed extraordinary pain
- the pain of the world. Others searched for identifiable
forms and then projected fascinating imagery, sometimes
weaving narratives into the very textures and rhythms found
in the works.
Some examples:
"I see
a soldier decorated with metals looking back at his past
filled with pain and guilt, but there is redemption coming
in from the sides"
Valhalla / Armageddon
/ whirling dervish / dance of Shiva / Jesus's face hovering
above throngs of people worshipping below / womb / embryo
in the womb / a man shot in the eye, blood running down
his face - New York - pain, such pain / the Holy Spirit
as it moves in the world / a horse sipping from a pool of
water reflecting clouds, with grasses and a fish / galloping
horses or antelopes / a man sitting with his arms resting
across his legs ...
Generally great
dialogs were opened - on vast subjects.
The paintings
acted as Rorschach tests in a strange way - people opened
up to what they saw and it was beautiful to participate
in. Especially since my only parameter has been to keep
within the concept of cloud form - the rest has been the
balancing of visual tensions, the interaction between color
and tone - spatial manipulations and texture. To then witness
narratives described to me by viewers, or to hear reveling
personal data shared cathartically, is amazing.
These previews
have been encouraging and testimonies of the vitality of
the work. I am glad. Alas, I am also drained and need to
not show the work for a while. I showed the work once Monday,
twice Thursday and once Friday night and this morning to
a total of ten people from different backgrounds, religious
beliefs, gender, sexual preference, and professions. I am
telling you - each time takes an hour or more, one night
ended at 1:30 in the morning - it has pulled a lot out of
me - for the reactions were deep. I didn't realize it could
be so tiring. I have got to stop showing the work - I have
enough previews to see what happens when people get around
the paintings. I think that it be best that I wait and not
show the work anymore until the 28th.
I have shifted
out of creating and into observation - making it difficult
to get back on the creative platform - time I get my head
back in the game.
August
continued - Better Than Whipped Butter.. >>
8.17
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