Concerning the evolution of thinking (being a topic of great interest to me)
Following on from the previous post: The drawing in oil on card above was created with the discarded material from a painting: The marks, though randomly made, never-the-less seem to be a self-organising whole. It makes me wonder, is the ultimate state of everything disorder (entropy) or is it actually order arising out of a […]
Header and above images: Drawing in Random Mode, oil on card by JWR Aeon online: The music of all time is a duet between order and disorder?
There is a significant difference in quality between the digital files I habitually post (as in 2nd image below) and the high res files (immediatley below). The high re files allow for closer scrutiny of fine detail (enlargement in the header image) giving a better idea of the painting (123 x 125 cm) in real life, not possible using the lower […]
When a painting is reaching its conclusion I think very carefully of how to title it. Untitled does not work for me. In making the paintings I have become absorbed into their wordless worlds, making naming not an easy matter but titling is a way to clarify the work further in my […]
(header image of one of the paintings currently in progress) Constantly Risking Absurdity (#15) BY LAWRENCE FERLINGHETTI Constantly risking absurdity and death whenever he performs above the heads of his audience the poet like an acrobat climbs on rime to a high wire of his own making and balancing on eyebeams above a sea […]
The elusive nature of philosophical justification link
The matter of signing the paintings has always been problematic to me. I do not like to disturb the surface without careful consideration first and at best find the act of signing something uncomfortably self-conscious. Sometimes this is not the case. My latest idea is to make a handprint on the back of the work […]
Midst this Brexit crisis an article seeing Chaucer as more than English – he was a great European poet.
it is incredible how a call to action such as the Summer show in thirteen weeks time really galvanises. For me this is all the more the case for the contrast of approach this represents relative to my normal practice; the painting being a painstakingly slow, absorbing production, each large painting maybe taking several months. […]