"The Time Between Times"

"Time Between Times" (22" x 34")

Sometimes when I am trying to get ready to begin a painting, it's difficult to know what I want to paint. I hear other artists say things like "I'm just waiting for inspiration...I'm in a dry season right now." That's not me. I've never been in a dry season. I've never waited for inspiration. If I dive into something (whether or not I feel inspired at the moment), inspiration comes quickly. It's like that inspiring little muse is always there (albeit quiet sometimes) but it can always be coaxed out. Sometimes it's like a pouting little kid that doesn't want to play and is sulking in the corner. And so you say "okay that's fine! I'll play without you" and before long, the kid slinks out of the corner and joins the play. 

So I am not slowed down when I don't feel "inspired". What I'm talking about is when I'm between projects and want to paint...am ready to paint...NEED to paint but I don't know what I SHOULD paint. How to decide...

What I usually do at that point is to look through all my photos in my camera and go to Bing or Google images and start the search for something to inspire my painting. I always tweak the photo so it's not a "copy" (I need the painting to be a unique piece), but I feel free to get inspired by a sunset, sunrise, interesting foreground or general composition of a piece. But the really big thing I'm looking for in a photo is not whether or not it's beautiful. There are lots of beautiful photos that make lousy paintings. I'm looking to create an emotion in the viewer. Manipulative, huh? It's true. 

The above painting is one I just finished this morning, "Time Between Times", and it depicts that five minutes of time between day and night that the world becomes magical with the quality of light and color. I'm looking to create a piece that evokes a sense of awe. I can imagine being there in the scene and thinking "Oh...my...gosh. (long pause) That..is...amazing". If I were standing on the shoreline of this lake at that time of day, I would feel awe. My goal is that I can share that sense of awe with the viewer of my painting. 

So to me, it's not my primary goal to create nice art. That's part of my goal, but utmost in my mind is that I want to elicit emotion (usually a sense of awe or peace or joy, but sometimes sadness and pain). If I can do that, then I've touched on something powerful and that is a very heady thing to try to master. I'll always strive to that end. 

World View #8: Post Modernism

"The Fountain" by Marcel Duchamp

I'm an oil painter in Asheville, North Carolina and I love living here. It's a unique little city. Asheville is an odd little cultural "melting pot". It attracts bohemians, artists, hippies, and hikers. To a great extent, we're a cool version of "the Island of Misfit Toys". Asheville is a southern American town with a handful of "locals" who were born here, and the rest of the population are transplants from all over the country. The vibe of the town, the beauty of the surroundings, the art, music (and craft beer) scene -- this is what draws people here (it's not the job opportunities!).  This makes Asheville a really interesting place to live, because you live your life amongst people who all have different views on things political, social and spiritual but (for the most part) respect the right of their neighbors to hold their own views. In fact, the only thing people here seem not to tolerate is intolerance. That sentiment leads us right into our next (and last) world view: Post Modernism.

To be accurate, a post-modernist would say that post modernism is NOT in fact a world view, but an “anti-world view". They would say that no single narrative is able to make sense of all our little cultural stories. In other words, "worldviews" are now out of fashion (which in itself is a world view).

Per this world view, there is absolutely no absolute truth.

Because our world views create the sense of how we interpret life here on this planet, how we make sense of everything we experience, a post modernist would assert we all create our own reality, and that it's pointless to try to convince anyone else that your particular "take" on things is the correct "take" on things. Post modernism would insist that there is no authoritative "take" on anything.  

Per this world view, there is absolutely no absolute truth. Yes, I wrote that sentence that way intentionally, because it points out to me the weakness of this world view. To say there is no absolute truth is in itself an absolute truth claim, so when I say "there is NO absolute truth", I'm contradicting the very assertion I'm making.  But because of the abuses of power by all who have held the previous world views discussed (see earlier blog posts), post modernists  distrust of all authority and dogmatism.  And if you listen to people speaking around you (from the news on TV to social media), you'll notice that the phrase "I believe this is right or true" has been replaced by "I feel this is right or true". I.e. post modernism appeals to our "gut" rather than reason and logic based on an accepted set of principles we regard as absolute truth.

Because of this, tolerance, freedom of expression, inclusion, and refusal to claim to have all the answers are the only universal values. And honestly, that sounds really good but...but it's a world view of contradictions.

Consider the following conversation between two friends:

Sam:  "I don't think you should do it. It's not right.

Tom:  "I think I should have the right to do whatever I want to do."

Sam:  "I just don't think it's right."

Tom:  "You're just pushing your morality on me. It's YOUR morality. Not mine. You're just judging me. Who are you to tell me I'm wrong?"

Sam:  "Wait, so you think judging people is wrong?"

Tom:  "Of course judging people is wrong. Everyone knows that."

Sam:  "So you think I'm doing something wrong when I'm judging people?"

Tom:  "Yes, of course you're wrong when you judge people."

Sam:  "But you're judging me. I think I should have the right to do whatever I want to do. What if I want to judge? Who are you to tell me I'm wrong?"

Logic like that is really hard to debate. So I personally find post modernism really frustrating and most difficult to scrutinize, but it is an absolute truth (pun intended) that this world view has very deeply affected twenty first century culture.

And so, we've reached the end of our very over-simplified discussion of world views. Theism, Deism, Naturalism, Nihilism, Existentialism, Modernism, New-Age Pantheism and Post Modernism...these are the world views that have shaped the western civilization since time immemorial. And because of that fact, they have drastically affected the art produced by our culture.

So in light of all we've discussed, how do we use our knowledge of world views to understand art? I would suggest it boils down to asking two questions when we are exposed to artwork (painting, photography, ceramics, poetry, music):

1) What world view is it speaking from and to? The answer to that question has a whole lot to do with what is the artist is probably saying.

2) So in light of the answer to the first question...is there a message in the art and if so, what is it?

“BUT IS IT GOOD ART?”

I think that's a fair question to ask and a rather simple question to answer. Once we have at least some idea of what the artist is saying, I would consider one more point: What level of skill is involved in the execution of the art being considered?  I mean, do you look at the piece of art with any degree of wonder? (i.e. “Wow, how’d he or she do that?”)   

That’s it. You don’t have to be sophisticated to figure it out.  When my kids were little, we took them to a modern art museum. For the record, I wouldn't suggest this outing for most kids, but it was pretty hysterical. Everyone there looked like they were quietly viewing the artwork (one was a blob of red paint in the middle of an 8' square white canvas) with wrapped fascination. To me, it was so interesting just to watch the people. It really felt like a modern retelling of the story of the Emperor's New Clothes and I felt like the little kid that was laughing at the emperor because he was in fact naked (though everyone was acting like they saw such astute wisdom in the king's choice of royal finery). Everyone else in the museum was acting like they saw such wisdom and depth in the artwork on display. Into that scene, my kids come racing around the corner and shout (so embarrassing), "Mom! Dad! You gotta see the stuff in this room over here! It's even weirder than the stuff in this room!" There were gasps from the museum crowd. Truth hurts.

What level of skill is involved in the execution of the art being considered?

There's a true story about an art auction in New York some years ago. There was an abstract painting auctioned off for millions of dollars. It was prized for its frenetic energy and non-traditional use of color. It was later found out that it was painted by a gorilla. The interesting thing is that everyone was completely insulted to find this out and the buyers demanded their money back. This is fascinating. Was it good art or not? Everyone thought it was great before they found out it was painted by an ape. Again -- think "Emperor's New Clothes".

Look, bottom line is: If it’s good art, you can probably tell.

Since I'm obviously giving my opinion at this point in my blog series, let me go one step farther:

I don't believe that everything called art is art. There. I said it.

• Just because it’s shocking doesn’t make it art. It may well be a visual expression. But unless there is skill involved, it is not art.
• Just because it is clearly conveying a message doesn’t mean it’s art if it is not skillfully pulled off.
• Just because no one else has thought of doing it doesn’t mean it’s art.

For what it's worth, I think good art says something TO the viewer (which is why we need to interpret the art in lieu of the artist's world view) or that art does something IN the viewer...and is skillfully done.

That’s it.

World View #7: New Age Pantheism

I've been looking at the major World Views of western civilization and have briefly described the affect those world views had on society in general and art in specific. This is because, as an artist in Asheville's River Arts District, I see the effects and influences of world views every day as I enter into conversations with people visiting my art studio / gallery. So personally, I find all this fascinating because it helps me know how to interpret the art I see around me, not just in Asheville but in every art museum and art gallery I visit.

In discussing this subject, I left off with the world view commonly referred to as "Modernism". A modernist would look at technology and design, and assume that the problems of mankind could be addressed and solved with the tools technology brings to us, thereby negating a need for a "higher power" to "take care of us" (so to speak).  At the turn of the 20th century, society in general was quite optimistic about the many benefits the industrial revolution had been bringing to society, and many people were convinced that the "golden age" was unfolding before them. Technology and design were seen as finally creating a world of peace and prosperity that we've always longed for. That infatuation with this new "faith" ended abruptly however when the world plunged into the first World War, a massive economic depression, and then the second World War.

And so, by the 1960's, society went shopping for another world view, and the return to spirituality was at the core.  Enter New Age Pantheism.

Pantheism was an attempt for a society which was "weaned" (as it were) on Judeo-Christian assumptions (see my blog on theism) to return to spirituality, but return in a way divorced from the assumptions theism espoused. For instance, New Age Pantheism taught: 

All of creation is One.  

Since all is One, all is god.

We are god.

Morality was viewed in terms of gray, not black and white. So typically, if you ask a New Age Pantheist "is this or that right? the answer would be, "well, is it right to you?"

In the 1960's, we see a society disillusioned with organized religion but still hungering for all things spiritual. For a couple hundred years, it was "old fashioned" to admit this spiritual longing if you were an academic elite, but now, people were "talking faith" once again.

So with the birth of New Age Pantheism, we see we see a return to the “spiritual” once again (albeit a decidedly "eastern" form) and we see people unashamed to talk about their faith. And by faith, I can not use the "western" traditional view of faith (a faith based on an agreed upon, established and authoritative "truth"). To a New Age Pantheist, faith is "believing something is true even if there is no evidence that it is objectively true. Faith makes it true for you." And so, once again, you heard people speaking of "the miraculous" and that there was more to reality than just the material world.

As far as the effect on the arts, consider the poem “Life's Journey” by Joy Light

You are the earth, and I the sea,
You hold and nurture me
While I play restless in your arms.
The sun warms and lifts me from your gentle touch,
Into the vast oceans of the universe,
Where I dart and fly in my human race with time and space,
Until in the light I blend,
Misty eyed with nature I transcend,
Like a raindrop drifting in the wind,
Then touching softly your arms again,
Knowing now life never ends,
Feeling now the peace within.

Although the tenets and assumptions of New Age Pantheism felt "new" to those in western civilization, they actually were borrowed directly from Hinduism and Buddhism and packaged in a way that would be palatable to the western mind.  So at this point in history, we had a milieu of world views competing for the minds of people. If you went to a university in 1965, you'd be taught naturalism in your science class, nihilism in your philosophy class, pass some Hari Krishna's in the hallway, and get lectured by your modernist parents about keeping your grades up so you can get a good job. This created a western society with very little "common" assumptions about truth, morality and spirituality. And THAT discord leads us to the last world view we will discuss next time: Post Modernism.

A New Opportunity -- A New Idea

"Azure Spirals"

"Azure Spirals" close up

A few weeks ago, a friend of mine, Tony Morton, connected me to 30a Home, an incredibly cool company in Oklahoma City that is both an interior design warehouse (furniture and furnishings) as well as top notch interior design resource, working with builders, designers, architects, and one on one clients, providing ideas and resources for both residential and commercial projects.

Their headquarters / showroom is in Oklahoma City and it is beautiful. My assignment was to come up with several new abstract and installation pieces that would fit into this contemporary space, because 30a Home agreed to represent me. So...where to start?

In the middle of the night a couple weeks ago, the idea came to me (I don't know why this always seems to happen at 2:30 AM but that's pretty common for me). So I came up with a brand new way of creating an abstract oil painting. I am still (and always) painting on top of aluminum leaf (which reflects light back through the oil paint, creating vibrant color), but I figured out a way to leave some of that leaf raw (no paint at all), creating a painting that almost reminds me of batik -- with glimmering silver lines between fields of color. When the paint is all applied, then I cover the whole piece with solar-resistant resin.

I'm including photo examples of the first two pieces I did, "Azure Spirals" and "Aqua Matrix", but I have two more pieces nearly done, as well as a large triptych which is well underway. So...more photos will follow. The abstracts will be delivered to 30a Home in July, and a large installation piece scheduled for an October delivery.

I'm excited. People visiting my studio often ask me "When did you invent this type of artwork?" and I always laugh. I'M STILL INVENTING IT. That's what makes this job so much fun. Always dreaming, scheming and playing. Sometimes the results are awesome. And then...sometimes those ideas do not work at all. But photos of those bungles don't end up on this blog. :)

"Aqua Matrix"

National Geographic?!?

My day began like any other day: I woke up, showered, had my coffee and walked the three miles to my art studio/gallery in Asheville, North Carolina's River Arts District. Little did I know this day could change my life...possibly forever*.

Back story: As a kid, I grew up totally addicted to any National Geographic television specials. These productions would take me away from my life of drudgery (as a second grader) and to far off, exotic places like Ngorongoro Crater in Tanzania or the Galapagos Islands off the coast of Peru. I would be immersed into the fascinating (and usually tragic) life of the wildebeest, gazelle or the giant sea iguana and forget I still had to practice for my spelling test in the morning. It was bliss.

"Little did I know this day could change my life ... possibly forever"

So back to yesterday at my art studio...I began working on my next series of oil paintings (which consist of a totally new and ultra cool form of abstract art, and I'm totally excited about that but...I digress). Around 1:00 PM, a nice young woman came into my studio and asked me if I would mind being filmed for a new National Geographic special called "Asheville Rising". Mind? Are you kidding?! You're asking if I want to be IN a National Geographic television special? (Do I get to go to Tanzania? Do I need an agent? Can I wear cool TV star sunglasses now? But I digress again.)

Obviously, I said yes. My gosh, the crew was super nice and I really enjoyed having them all in my studio. Basically, the segment was of just me painting (no wildebeests or gazelles). I have no idea if they'll really use any of the footage, but still -- National Geographic?! The show is supposed to air in October I think, but I'll keep you posted. Any NatGeo special about Asheville is bound to be great whether or not I make my TV debut. Whatever.

*Just kidding about changing my life forever. But then again....who knows?

World View #6: Modernism

In our basic survey of world views and how they influence the arts and culture, we have looked at five: Theism, Deism, Naturalism, Nihilism and Existentialism (that's a lot of isms to consider!). We have considered the basic "life premises" promoted by these world views and their affect on culture and specifically upon art. We noted that the basic assumption of theism is that "God is here". This world view asserts that the Creator is present and wants relationship with us. Deism asserts that God is "out there somewhere" (but not here). He, she or it exists (order we see in the universe would suggest that) but that God is distant and a personal "relationship" with him/her/it is not possible. Naturalism states that to debate whether or not God exists is pointless, because the only way to determine the truth of something is to be able to prove it scientifically (hypothesize, predict, test, repeat). Nihilism argues that if the propositions of naturalism are true, then the whole notion of God is dead, and that as a result, human existence is without objective meaning, purpose, comprehensible truth, or essential value. Existentialism states that "well, yes God is dead, but we don't need him/her/it  to determine truth or real meaning...we do that ourselves.

Understand that at about this time, a lot of "culture shapers" in western society were to the point of saying (and I paraphrase): “Ah, all you philosophers are taking this 'meaning  and truth' thing all too seriously. You're totally depressing us!  At this point in history, we no longer NEED your religion or philosophy to explain or advance life and culture...we have technology…we can do SO MUCH to help the species progress, and isn't that what it's all about?"

Enter Modernism.

Modernism is the world view which preaches that human beings have the power to create, improve, and reshape their environment, with the aid of scientific knowledge and  technology. It encourages us to re-examine every aspect of life, and use science and technology to find better ways of doing everything.

Modernism basically sets aside the theology and philosophy that lead us to this point. Or rather, it actually coops theology and philosophy to strengthen itself as "the" legit world view. Let me explain.

Rather than glorify a deity that is here, there or nowhere at all, modernism glorifies technology as the key to our thriving as a species. In a sense, technology becomes the new god. In the early 1900's, there was a phrase that summed up the thought of the time: "Every day in every way, we keep getting better and better!"  This was real cultural optimism brought about by a new and fresh faith in technology. Finally, humans were finally on the brink of utopia (in 1900, they didn't know about the two world wars on the horizon).

The idea of solving human problems with design and technology was very long-lived and even exists today.  But the optimism preached by the proponents of modernism was based on technology alone, not on human emotional satisfaction or fullness. Traces of human emotions were being stripped from art and design at breakneck speed. Consider the profound effect on architecture. Prior to modernism, buildings were ornamented. Details and hand-crafted elements were important. With modernism though, ornamentation was distained as unnecessary. Everything was stripped down to the bare essentials. That is all we need. Anything else was viewed as superfluous. “Less is more” was the mantra that guided architecture from the early 1900's until the 1980's (look at Soviet era housing for a grand example of this…)  

But...consider this. The art produced by modernism was becoming less and less "human". Architecture and design was looking more fit for robots rather than humans. Metal and glass, absence of vibrant color or intricate design is cold and mechanistic, with no "personality".  Human beings are fleshly and emotional -- warm, soft and full of feelings, (not cold and metallic and impersonal).  So, this leaves human beings with some cool looking art and architecture, but also leaves society with having to live in a very cold, mechanistic world with no personal identity.

Until the 1960's changed all that, but that's for the next blog.

The Art of Dinner (with the Dallas Cowboys)

On Tuesday, June 5, Omni's Grove Park Inn asked me to be involved in an event called "The Art of Dinner". The way it works is that for a select group of people (the DALLAS COWBOYS actually), the chef from The Grove Park Inn is going to create a five course dinner which is their take gastronomic "interpretation" of my painting (below) entitled "Summer Walks Remembered", a painting inspired by teenage memories of one of the most amazing summers I had as a teenager. 

Back in the day, my parents piled three kids and our dog (a Saint Bernard) into our station wagon and headed up the California coast from Los Angeles. We stopped and camped along the Oregon coast, visited family in the Seattle area and then headed north into Canada. Our eventual goal was Francois Lake, British Columbia to pick up my younger brother who was staying at a friends family cabin on the north shore of this incredible lake. This was true wilderness at the time. I remember one afternoon I went walking by myself up a pathway that led eventually to an upper wheat field that used to be used for livestock when the homestead was a working farm. The pathway was lined with aspen trees and wildflowers. It was one of those places you randomly visit and think "wait, stop. Stop and breathe. Remember this." And I did. The painting I'm bringing with me is based upon that very memory of a beautiful warm summer day in northern British Columbia. 

I have no idea what a gourmet, edible version of my painting will be, but talk about creative! I love it. I'll be there with my painting, explain it, meet the chef and of course the players. What an incredible thing it is to live in Asheville!

Carving Mountains from Scratch

Having recently completed a set of six new paintings for the gallery that represents me in Charleston, SC (Mitchell-Hill Gallery), I decided I wanted to search for a gallery somewhere in the Rocky Mountain states. There are several ways to hunt down a gallery to represent you, but most of those ways do not work very well. The most common way is to send them an email and ask. But galleries can get over a hundred emails a month from artists and I would assume they just delete most of those emails as they get them. Some galleries actually state on their website what they ask from an artist that wants representation, and an artist following those requests is respectful, and that's a good way to start a relationship.

There are several ways to hunt down a gallery...but most of those ways do not work VERY well.

The other way though is for an artist to enter their work in regional shows, because gallery owners often go to shows to check out the art and shop for new artists to represent. Because my work is so hard to explain in a photo (they are dimensional and reflective), this last route is the way for me to go I think. So I am looking for key shows out west that I can enter a body of work into that would "fit" into that region. So for instance, I am looking to paint more rugged mountains that our Appalachians and Blue Ridge. These new paintings should like like somewhere out west (think Rocky Mountains) rather than western North Carolina or the Asheville vicinity. And I LOVE that challenge. I love painting new themes because that keeps my work fresh and my brain entertained!

So here is the beginning of a painting of Dream Lake (just southwest of Estes Park, Colorado). This is a quintessential Rocky Mountain lake scene, so it's perfect for my purposes. I just began applying modeling compound with my palette knife yesterday, building and carving the scene on my canvas. This is now about ready for the next step (applying aluminum leaf), then painting.

I'm really excited about painting this new body of work. We'll see where it goes! 

"Trigger Warning"

After the school shootings at Parkland, Florida and after watching a horrid video (that hit really close to home) showing a black man being totally brutalized by a local white police officer, several of my artist friends were talking and trying to process our grief and rage. This should not be normal. None of this should be normal. As the conversation progressed, we decided we needed to use our artistic voice to challenge our society to call that society to think and reason. This has turned into a multi-venue exhibition of art called "Trigger Warning".

As I said in my earlier blog about this, I wondered what I could do (as a landscape painter) to say something strong about this whole subject (because that's what it deserves). I really felt completely perplexed. But then in the early hours of the morning, the idea regarding what I had to do came to me.

Rather than wax on about what I wanted to say with this, I would like very much to know how it affects you, the reader/viewer. I have not titled this piece. What would you title it? Does this piece bring up any thoughts, emotions or questions? I'd really, seriously like to know. This was one of the most difficult paintings I've ever done (knowing what I was going to do to it to make it say what I wanted it to say). I would be very curious what exactly it's saying to you. Sincere thanks!

World View #5: Existentialism

As an artist who usually just paints local landscape paintings, I don't usually think about my "world view". Most people don't give their own world view any thought at all but that view affects how we interpret EVERYTHING here on this planet. So, because we want (I assume) to understand art, we really need to consider the world view of the artist so that we can accurately interpret (and maybe even enjoy!) a piece of artwork. 

The previous world view we looked at was the "abyss" of Nihilism. Because the ramifications of this view are so dark, it gave way to the next: Existentialism. 

I think Existentialism is interesting. In some sense, it is a "softening" of Nihilism. Again, Nihilism asserts that we are all here by chance and in a few billion years when the sun explodes there will be no trace we ever existed and so nothing anyone does ultimately matters at all. In Nihilism, concepts like "fair and unfair", "good and evil", "right and wrong", "meaningful and meaningless" are not based in reality at all and therefore are technically baseless philosophical constructs.  The results of a strict nihilistic world view left a lot of people pretty depressed because like it or not, most people intuitively desire some sort of transcendent meaning in life. Human beings like to at least feel like some things really do matter, and nihilism gives no basis for that assertion.

Enter Existentialism

Existentialism showing up on the scene when it did brings to mind an analogy. Imagine the world is at God's funeral -- people everywhere are quiet, weeping, downcast. As the pipe organ is finishing up the dirge, Stephen Colbert steps up to the podium and starts cracking jokes. Soon, everyone is laughing hysterically.

Existentialism is the joke-teller at a funeral.

Existentialism asserts that yes (as per nihilism) there’s no God but…good news! We don’t NEED a God! We’re free! We can do whatever we want! We can be who and what we want.

Existentialism asserts that we’re not accountable or dependant on a grumpy deity out there somewhere. Individuals are free to create the meaning and essence of their lives, as opposed to deities or authorities creating it for them.

In existentialism, like it’s predecesor Nihilism, there is no true truth. There is no right right or wrong wrong. But existentialism deals with our penchant to at least “feel” like there are propositions that are true and false, right and wrong. This world view deals with that “desire for truth” by asserting that a belief can "become" true to you when you act on it.  This allows people to basically come up with “boutique truths”, customizable truth for every person on earth.

Let's look at the effects of existentialism on art. The poet, Tom Greening, wrote a poem which I think beautifully captures the ramifications of existentialism on a human life:

No Time to Feel (Tom Greening)

The way that I've arranged my life,
I've left no time to feel.
This anesthetic works so well
I never do reveal
my feelings even to myself
or to those close to me.
By keeping busy all the time
I act like I am free,
and if I have some time to spare
I fill it up real fast,
and pray this numbing sedative
is somehow going to last.
When nosey people question me
I hasten to explain
this is my plan to get through life
by minimizing pain,
and yet at times I lie awake
obsessed by sudden doubt—
I worry that I'm just a fool
and somehow missing out.
I do not hope to really live
but merely to survive,
but will I mourn when I'm near death
not having been alive?

So I have a question.  What’s your reaction to this poem?

Next, I’d like also to take a look at a sculpture named “Three Men Walking” by Alberto Giacometti (below)

Take a look at it. What do you notice? Any thoughts?