My philosophical vision of my art

Introduction
It is not often that I am encouraged to put words and explanation to what is spontaneous and not premeditated.

Not unlike the intended subliminal effect of the placement of a gold frame around a painting rendered at best at a mediocre level in the expectation that it will by convention, legitimize its significance as an artform, Bathing A wooden assemblage in black in a Nevelsonesque Fashion which was representative of my initial foray into assemblage art, can obscures the reality of a nonworking visual effect enabling distracting shadows to pull together what would not stand alone without some form of façade. With that belief in mind I have not gilded my constructs or pursued use of black as a preferential pigment for my abstracts particularly after individuals with depressive tendency have shared the negative experience viewing such painted work has had on their psyche.

What may appear whimsical, distorted or intentionally anatomically incorrect is a reflection/Function of my belief in the power of Wabi Sabi the essence of which for me is the capacity to capture and captivate the viewer with a motion and movement created by imbalance and asymmetry.

For some uniformity and orderliness is a requirement for the acceptance. However for others it closes the door on further interest in what is viewed,those individuals preferring that the mind’s eyes shift the fulcrum to enable a balance point far from center requiring consideration of all pieces at play_ through juxtaposition of dissimilar shapes and sizes in achieving harmony of effect.

The incompleteness of capacity for representation of a single piece of wood can be supplemented by the confour of a portion of another adjacent piece in the approach ment of iconic rather than abstract significance. Although a piece of wood can have singular strength, Many pieces sharing in the creation of Unity in a composition seems more satisfying in one’s mind

This sequence of establishing the most prominent societally recognized feature of a dignitary or celebrity before delving into a cartoon characterization where other anatomical components of the face are of a non-identifying nature necessary only for establishing that composition is that of a face is not the process by which my representation creates persona,” the likeness to whom” was not premeditated but rather happenstance and only apparent when the last piece of what has been gathered is glued down one by one without prearrangement.

Similar in effect to the well-written poem of few words that enables multiples of interpretation without formulaic ambiguity, Sculpture by assemblage can utilize those essential elements of form that captures at the most simplistic level a emotional connection with the viewer unlocking and allowing the recovery of an emotional response that sentimental memory preserves not unlike a single chord of a musical score LinkedIn time to a personal experience.

Because I have moved in a committed way from land and Seascape painting to this form of sculpture using in large part repurposed pieces and fragments of furniture and molding held and worked by hand previously by cabinetmakers of much greater skill than myself in its initial creation, I cannot help but confront what it is that provides Energy and motivation to this type of work or for that matter the work of anyone that creates that has potential of existing live in perpetuity. Before the digital world and cyberspace this was possible only in printed or solid form be it the product of writer, artist or musician. Will future cultures except the intangible? Is the purpose of one’s existence more than propagation of species or the capacity of time on this earth to further technologic sophistication of society. Or more importantly ? Is the pertinence of one’s life only to exemplify the essence of living in unison with a moral code that embraces the maxims and credos of all cultural, ethnic and religious humanistic philosophy. Does creative compulsion offset the implicit futility of a finite life in consideration of the reference of dust to dust and ashes to ashes when one confronts the reality of mortality and the purpose and motivation to create and preserve the work of an individual. The momentary enjoyment of a sidewalk surface chalk artist and passerby cannot but give one pause in considering the intangible evanescent forms of art that are in the moment and not for collection, cataloging and permanent display.