I’d rather be blue…

July 14, 2010

My theory of painting is simply this: travelling has to be at least as interesting as finally arriving. It helps to have a numinal idea of what arriving should actually look like, but it wouldn’t be “art” if I already knew, would it? Thus, I always experience a certain kind of hesitancy as I approach the final levels in a painting. Do I really want the journey to end? Will this level “do” it? Or will it need more? And if so: what, where, how? Will the final image end up looking like a bored adult in comparison to its earlier youthful promise? Should I have stopped at some earlier vantage point along the way and just grabbed the ‘chute?

Additionally, imposing a chromatic structure on image development allows for lots of lateral exploration at each level of additional color. Or to put it in even simpler terms, it helps me to control chaos. Chaos of my own emotions and my emotional reactions either to the subject matter or the developing image in front of my nose. But too much control results in lifelessness, too little, and it’s just chaos.

Riding the surge of that inbetween space, of that wave, is richly rewarding: both exhilirating and terrifying. Committing myself to it involves a kind of surrender and also a kind of trust. If I imagine that the landscape I paint is essentially external to me, if I imagine that the paints I use are essentially “other”, if I imagine that the world itself is not a part of me and myself a part of it, then there is fear.

So, instead of experiencing distance to it all like some alien stranger, I’d rather be blue (thalo or ultramarine, to be exact)…

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One Response to “I’d rather be blue…”


  1. […] when developing an image chromatically. For examples see: I am curious yellow, Seeing red, and I’d rather be blue. But in all previous attempts, I did not introduce tempera white directly over the egg […]


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