I don't really know what it is about a linear evolution that i so desire. Perhaps it's because i've normally worked in seemingly unrelated cyclic bodies of work. Having embraced working in series a few years ago, it would make sense that the work evolves in a nice, orderly linear fashion. At least that would make it easier for the presentation.
Within the flow there are subsets. And this is where i put them...
From the recent Bar Interiors, maybe I should make another to fill out the body of related work, but in the meantime i've started some explorations of directly depicted interiors. They are loosely representing the 'dead space' of hotels. Specifically the large hallway with the obligatory (my own or theirs?) table with lamp and literature. And the exit to the outside world. More about the subject aspect of it later. What they depict and what they are about are separate entities. Anyway, I've started 5 (22x28) and another 3 (14x11).
What I like about them:
Places for your eyes to travel and to rest. The compositions bring up a notion of speed- how fast can you reach the exit?
Quirky moments where wall and ceiling/floor start to blend together.
The downsides (i know, i'm not supposed to openly critique/disparage my work):
They feel like an illustrated idea in some parts. When the outcome is known or expected, the journey of the making of the painting is less of a discovery, less 'felt'. The impulse or impetus for the paintings existence, its drastic 'need to be' is lacking. This is probably my own issue with illustration or work that feels to easy, and the fact that i'm piling up storage issues. However, the first few are often easy, so maybe the next will have that required urgency built back in..
What i'm interested in is the broader form that carries those elements. The energy and direction of a wall or floor or architectural element. And I'm also curious about how the 'mental map' of a scene starts to degrade, either through memory or diverted attention. Eg- if my attention is on a door or scene outside the door, my vision or mental map will blur the things that are less important. (how do we represent that when the pictorial tradition and photography demand clarity?). That blurring holds potential for me- like a door to another universe is opened in places we aren't currently using in our consciouis mind.
The mystery is How!? Too fussy feels heavy and overworked. Dirty. The one shot version feels flip, illustrated. tah dah! Somewhere in between? And sadly, it cannot remain as a formula. Once discoverd, twice or three times investigated. A few more times is 'product'. Even more is 'rote'. Even more is a deadly crutch. If it gets that far, I hope it laughs regularly to the bank.
28 x 22 inches
28 x 22 inches