A case for Representation.
When I studied Art formally in the early '90s, I thought I would learn to paint like the renaissance artist Michelangelo, but instead, I learned to pour paint like Helen Frankenthaler and drip abstract expressionist Jackson Pollack. Really cutting edge in these days were postmoderns such as Julian Schnabel, Anselm Kiefer of the king, or rap street culture neo expressionist Jean Michel Basquait. The grand scale, the political, the abstract was all the rage. It still is. And I still have an affinity for it. Now, however, have a deeper appreciation for representation returning once again to the art scene. In fact, in, my first collection on view to the public, I completely abandoned the style of my youth for an artistic voice closer to that of the impressionist. Art institutions spent years trying to free the artist's hand, and now I am spending years trying to learn how to control it.
According to Sandra Mendelsohn Rubin an article posted Dec 06, 2017, in the Huffington Post, https://www.huffpost.com/entry/5-artists-on-the-enduring_b_5826276 "5 Artists on the Enduring Qualities of Representational Painting:'
"...The true poetry lies in the orchestration of a good composition combined with the skillful use of paint and color, all driven by sensory perception, intuition, and memory. No matter the time in history, when done masterfully, it is timeless. In daily life, we ‘look’ but we do not always ‘see’. We are physical beings in a tactile three-dimensional world. Representation makes us pay attention to our surroundings as well as to ideas and relationships. We all have a story to tell. It is my firm belief that representational painting will always be new no matter the trends or curatorial leanings of the times.”
Painting existed over forty thousand years ago, predating written language. The human species has put down marks that left a living trace culture. As the machine age emerges, I argue, we need those marks more than ever before.
Bow Bridge in Bloom, 12x16
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