Another day in Marfa

This afternoon, late, I lay in the lawnchair in my backyard, gazing up at the piercingly blue sky framed by the new, green leaves of the elm. The doves and grackles and birds I don’t know names for called from the trees and electric lines where they perched. I pretended I was on vacation.

I scratched Zackdog behind the ears in his favorite place and watched his eyes glaze over in bliss. The he went off to be by himself and do his own gazing, at late afternoon walkers, the neighbors going to the dumpster, a car driving by, ever watchful for the odd bunnie that might make itself visible and then freeze (as if that were some brilliant defense mechanism).

This is my idea of a good time and it’s when I fall in love with Marfa again. At times, something deep inside us guides us without our conscious awareness and we are compelled to act. We owe it to ourselves at these moments to listen deeply to ourselves and not the noise around us, or the well-intentioned advice of friends or colleagues or lovers. To be selfish.

Yes, on days like today Marfa is a piece of heaven. Don’t move here.

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Signal v Noise

Sometimes I feel compelled to explain myself. This is one of those times and what compels me is the unquestioned assumption by many who when confronted by an object that requires only quiet contemplation demand the object have a story behind it. This, then, is an attempt to describe what that story might be even though, under it all, there is no story.

The paintings are a reflection of the unfathomable, that for which there is no complete narrative, only brief and infrequent glimpses. And I don’t mean to be overblown; that’s simply what they are. They are also a mundane history: I made these marks with this color for six weeks last November; in the fall of last year I spent one week collecting the seed pods from clumps of tribulus terrestris (goathead or puncturevine).

My paintings and other objects I have created are unabashedly retinal. They do not possess a narrative as in ‘this painting is about…’ This lack of narrative, I naively think, is obvious in the works themselves. They are, actually, about no story, no narrative, a reflection rather of a state of being as no-thing gazing out at inexplicable phenomena. Most of the time creating a work is not done in the actual creation, but in this state, sitting on my front porch, for instance, looking. And if I can recapture a way of being in which I lose track of the names of that which I see, something truly miraculous can occur during which all there is and me are all subjects gazing at each other.

If you take away what you do and the stories you tell about who you are, if your history were erased, your family and everyone you know were to disappear, who is left? And what is it that that subject which is left is experiencing?

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Poem by Josef Albers:

Calm down
what happens
happens mostly
without you

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A few quotes

A painting is never finished – it simply stops in interesting places.

Paul Gardner

A man paints with his brains and not with his hands.

Michelangelo

All material in nature, the mountains and the streams and the air and we, are made of Light which has been spent; and this crumpled matter called material casts a shadow, and the shadow belongs to Light.

Louis Kahn

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Work Group 1 (2008)

The six panels which comprise Work Group 1 were installed at inde/jacobs gallery in Marfa in October 2008.

The subjects of my paintings are color and perception. The six panels of Work Group1 (2008) continue my investigation into subtle differences of light and color (color being a quality of light) through the use of multiples.

The work is divided into three diptychs. Each diptych’s final color is the same, only the underpainting differs. The final colors were applied thinly and loosely using transparent or semi-transparent colors. This causes the top color to mix with the color underneath in the viewer’s perception, subtly altering the perceived hue. The color perceived does not actually exist on the surface of the painting.

Another result of working loosely is that the sufrace color appears flat at a distance, yet closer is actually many colors which distance blurs.

Installation View

Installation View

Installation view

Installation view

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