The primary intention of this web site is not to sell paintings or to focus exclusively on works of art. This site is more of a forum, avenue or channel to be used by me to share my perspective and mental views of ideas that can lead thought out of an objective reality, which is totally based on what the physical senses recognize, into a subjective reality that relates to how one can actually experience a separate awareness of an existence very different from the limited temporary or ordinary views universally thought to be fixed facts. Many images shown are illustrations of thoughts and ideas. My paintings available for purchase are on the Gallery page.
Any form of Fine Art brought into being is a vehicle that can be used by the artist to communicate an unseen reality to those who are able to recognize and understand its full worth and feel its full impact on their everyday experiences.
In my case it is through visual art in the form of studio art and writing that bring to my conscious mind the opportunity to enter into and become part of that sphere of unending substantive activity so elusive to the limited senses of surface cognition. Creative arts also include sculpture, dance, photography, drama, music, poetry, books, speaking, etc., since they all are ways to communicate their own substance and inspiration, if it is there, and can bring their audience out from the veneer of what is often called an artistic process into the full depth of feeling the artist has put into his work and is trying to share with others.
On this Web Site I will share ideas, experiences, and observations to help stimulate the atrophied yet innate capability of the reader to be able to appreciate and develop their skill of observation and comprehension beyond the limitations of only a sensory perception. The development of this skill has the effect of completely changing the preconceived viewpoint of just about everything that involves us.
As an example, if you are hearing music or a song you may respond by feeling emotions, or a compulsion to move your body in ways that connect you with the music. You might want to dance, sway with the music or sing along with the lyrics and want to repeat this enjoyable connection by replaying the music over and over again. You may not understand why you react that way but you have connected with an unseen but tangible substance embodied in the music, put there by the artist, and you are allowing yourself to respond and enjoy its message. You are feeling a deeper appreciation of art that is obviously increasing and not wasting away or shriveling up and best of all you are connecting with the infinite realm of subjective reality where you are able to consciously expand your ability to enjoy other life experiences.
Another person, playing the same music may only be hearing meaningless sounds, noise or just background music which they mentally tune out because they feel it is not worth their attention. This is true with paintings when one viewer can only perceive it as just some paint on a canvas or a depiction of objects when the same painting could transport a different viewer from the visible and beyond.
Because I have experienced and learned from both viewpoints and am fascinated with this learning process that has been going on for many, many centuries, I want to share with others some ideas and thoughts that will reveal an invisible world to those who are ready to accept the challenge of developing their observational skills and learn more of that ever present, inexhaustible, harmonious, exciting and substantial interaction between objective reality and subjective reality.
Welcome to the thoughtful world of Jane Renau Denison
where ideas come to life as visual images and beyond.
In keeping with the Welcome message on my website, this article will not only introduce you to Elamenoes but you will also be introduced to my world which is abundantly full of thoughts and thought forms. You will understand how ideas and thoughts can be both images you can see with your eyes as well as images that are beyond your visual arena and why that matters for gaining a better understanding of the arts.
Here is a bit of history about my first encounter with Elamenoes to get started. While drawing random shapes in my sketchbook I began to notice strange repetitive patterns evolving. When I began to refine the lines I could see the shapes could almost be like human forms but not exactly identical to what I would consider a depiction of a person.
As usual, I became quiet inside myself and started think, The word “elamenoe” came strongly to mind. I hadn’t thought of that word for a long time. I was taken way back in time when I was learning to recite the alphabet in the usual singsong style of small children before they were able to actually write the letters. I recalled my unstated question about why there was a pea right in the middle of the alphabet. It wasn’t noticeable when I was writing the letters, only when I would say them. This pea was a particularly ornery pea to me because it always seemed to disturb the syntax of the song. It had a green shape and was always described within the alphabet as an elamenoe pea.
As I began looking at my sketches I realized contemplating a pea was incidental to something of far greater importance. I felt a deep compulsion to find answers to questions appearing within my thinking. Why was there a forever insertion of such a strange word for a pea plunked into the middle of all those symbols of my language? Did it really have anything to do with a pea? Was there a reason for its presence? I began to think it possibly could be some unknown concept patiently waiting to become noticed and acknowledged for what it was and represented. When I gave more value to that realization my thought immediately became connected again to the pencil shapes. The idea presented itself that these could be organisms known as Elamenoes coming to my attention and ready to communicate with any receptive earthling consciousness. I also felt I was obviously ready and willing to learn more about them and maybe someday would share what I learned as a result of this connection. Now is that time.
But before I write more I would like to point out that there is a big difference between imagination and inspiration. Some may think that my visualization of Elamenoes were just my imagination having a good time, which it does have a tendency to do. Imagination is that part of the mind that forms a mental image or concept of something. Like seeing a cloud as a flying alligator.
Inspiration, on the other hand, is the process of being mentally stimulated to do or feel something, especially to do something creative: such as when a sudden brilliant, creative, or timely idea becomes a huge motivation needing to be developed more fully and just won’t let you ignore it.
My inspiration here was to start developing a deeper understanding of what could be the unseen justification for this abstract idea of an Elamenoe coming to my thought. How could I translate it into a visible form through my art? I had already translated Elamenoes into a well-recognized human form so I now began adding to their identity by giving them a place of origin. During the process and stage of developing an idea, such as this, I remain aware that I am working to replace thoughts about ideas for images of ideas that can be seen as both subjective and objective realities.
The Elamenoe is from the planet Elamenoe which is in another Galaxy well beyond the comprehension of those on the planet Earth. If the earthling has developed the ability to use a method of communication which is not limited, restricted or bound within the strict confines of the what the five physical senses perceive to be the only reality, then an exchange of ideas and feelings could be developed.
By watching some simple activities of Elamenoes I can better understand more clearly what I have come to observe as a positive, good, but mostly latent and often unrecognized, ability already embedded within our subjective reality as humans. It can be recognized as a loving instinctive nature found in all living creatures on our planet Earth and in our Universe. All that is required for us tap into our unrestricted powerful faculty is to become aware that it exists and that it is OK if we let it direct our thoughts and actions as it replaces any other sense of negative persuasions.
I have been able to experience this unrestricted reality become fulfilled through the medium of painting and bubble over into other forms of creativity and human experiences. That is how and why I was able to assimilate the ideas and thoughts, visible and beyond the visible, during my mental encounter with the Elamenoe concept of reality.
When the Elamenoes and I were of one mind I could sense their pure expressions of peace, innocence, honesty, harmony and loving kindness totally uncontaminated by any opposing force or other influences. For this reason, they always appeared, from my point of view, as pure white. Their entire demeanor was the reflection of all the hues of light spread out in a way that many different colors were never individually evident. The Elamenoe could only be fully recognized as forms of light.
The black background which always accompanied them, from my viewpoint, represented to me the absorption of all color, making it possible to see the Elamenoes as distinct shapes. This black was not darkness or the absence of light but represented an absorption or inclusion of all color in stark contrast to the reflection of all color as light.
Elamenoes and I were able to communicate through an avenue we had in common. This exchange was through color, form, texture and shape expressed in paintings on the visible sphere of consciousness as well as appearing through thoughts and ideas found beyond the earthly visible but also known to be present in all living beings whether they know it or not.
Here are a few visible ideas representing what I learned from these entities.
Elamenoes have been passing through the atmosphere of conflict and discord as well as that of love and happiness coming from Earth but have not given it much attention because they are creatures from an atmosphere where there is nothing but purity, harmony and peace. They were generally aware of an odd separation and mixture of earthly colors and attitudes in general. They could feel the extreme senselessness and apathy combining with sensitiveness and kindness coming from most of the population on Earth. They just flew on past us not being attracted to it and not wanting to remain very long in the intermixtures of the earth atmosphere.
To enlighten me and help me better understand more of what, to them, seemed to be a meaningless activity of earthlings, they revealed this idea as a visible example of how they saw some people on Earth attempting to cope with adversity.
Because Elamenoes are perpetually held within their own atmosphere of purity, peace and harmony they were totally unaware that conflict could ever be a reality. The blue textured shapes are what they used to represent adversity. Such as difficulty, misfortune, mishap, tragedy, distress and the like.
The entity on the bottom left is a fighter. He is continually going after his adversity prepared to beat it up, kick it, and combat it in his own way. All having no effect because he still has his adversity right in front of him.
Above him is an entity that has rolled up his adversity in a ball and is just placidly sitting on it. By putting his adversity under him where he can avoid it and not have to confront it anymore he begins to gnaw on himself while thinking thoughts such as, ”If I had only done this or that differently I wouldn’t have to experience any adversity.” ”I know that all of this was brought about because of the way I reacted to, whatever, and I should have been more, whatever, than I have been.” ”I deserve better than to have such adversity in my life.” ”I should have done or been or claimed my. whatever, in a different way.” All the while he still has his adversity under him.
Then there is the happy dancer oblivious of there even being any adversity to contend with. She is above it all, care free and full of her own uncomplicated activity. But someday she will lose her altitude of thought and come down a bit right in the middle of her ignored dilemma because her unaddressed adversity is still there.
Elamenoes observing two worldly situations: Anarchy, Hierarchy
I was particularly conscious of what appeared as a detached distance the Elamenoes maintained as they were observing earthly experiences. I looked at these paintings illustrating words. This became even more obvious after I had finished painting and began pondering the meaning of their behavior. I now feel more motivated to become aware of how I also should be able to stay within my natural surroundings or atmosphere of undisturbed calm while at the same time I am recognizing examples of chaos around my space.
Like the Elamenoes I have the ability to keep my composure and not let what I am witnessing with my physical senses disturb, alter or affect my real innate existence of peace and harmony.
Is that possible? Yes! But that will be another article.
These paintings are hanging in my gallery. To view them and get more information click here.
My idea belongs to me, I own it. It was grasped by my mind, I nurtured it, refined it, encouraged it along the way of its development from being a mere suggestion to becoming a complete work of art. An idea can change, be accepted, rejected, molded or altered but this can only take place within the control of the mind that brought it into existence. The process of mentally sorting through and selecting ideas so the strong ones can begin to put down their roots, gain strength, substance and form can be hard work, but this is the fundamental fun and excitement found in any creative experience.
At first the ‘what’ or ‘how’ the fruits of a single fully grown idea will eventually appear may seem like a mystery. When I work closely with my ideas they expand until their invisible characteristics take form and become visible to me. This process involves a close connection between the two of us and for that reason the idea will always remain within me.
Others may attempt to give or force their own ideas into an artists thought processes but those ideas belong to them and can always be accepted or rejected by the artist. A mind with a fixed, established, well thought out idea will cherish and protect the expression of its idea and not be influenced, doubtful or fearful about its expression or ownership. Once an artist is inspired and motivated by their idea they are going to stick with it until it meets a certain standard of completeness. Although I have experienced times while an idea is being painted or written it will tell me that it is finished and as an intuitive artist I have no choice but to stop. We should be very alert to the danger that comes from a teacher or an authority figure who will attempt to stifle, direct or redirect a students creative process as this will often result in the collapse of any future inspirations that could emerge and blossom.
One of my paintings was accepted into an art exhibit held in the lobby of a theatre. The audience was invited to visit the gallery during intermission. I decided to stand next to my painting during that time and try to appear as just another disinterested bystander.
A couple approached my painting. I couldn’t help but notice the body language and feel the atmosphere of thoughts each one projected. The woman was the one who showed an obvious interest. The man, a perfect specimen of a dominant individual who knows everything, led the conversation. The painting they were looking at was inspired by my idea of painting a bird nest sitting on a tree branch surrounded by a few leaves and nestled within it were 5 beautiful little blue egg. The primary substance of my idea was the viewpoint. It was not the usual view of a birds nest with unhatched eggs seen only from below or across from it. This view was from above looking down into the nest. The title ”Birdseye View” explains my idea. I loved that painting because it not only represented the fulfillment of an idea I had watched develop in my thought but it was also appreciated artistically by others as worthy to be juried into the art show.
The conversation I overheard started as she moved in closer to get a better look. He confidently announced that he would tell her what the artist was thinking when she painted it. She listened with much interest, as did I. Fortunately I can’t recall exactly what he proudly spouted out to her but I do know I was completely surprised by his total off the wall, incompetent, irrational opinion of what he thought the artist was thinking.
That was way too much jabber for me. I became alive and stepped out of the woodwork and said, in a very assertive tone. ”That is not what the artist was thinking.” Challenging my authority and my intrusion his response was, ”Well, how would you know?” My always to be remembered answer was. ” Because I am the artist.” They almost tripped over each other as he abruptly turned and led his friend away.
I don’t have a picture of that painting because it was sold at a later time. The woman who purchased it was a precious loving mother of 4 happy energetic children. Her first born child had passed away at a very early age. She told me that when she first saw the painting it brought to her mind an idea she had held for a long time. She always could see that within her nest of mother love it would always have in it 5 babies. This painting brought out a far more expansive view of motherhood than my lower viewpoint of looking down at a nest with eggs in it. Here art was used to express a visible reminder of her own idea of everlasting caring love. As for the man at the art exhibit, he remained at the level of his opinion about the artist since he definitely had no idea about the painting to share or lift him higher.
While pondering my painting and these experiences I began to realize much more about the development of this idea as it had taken its place in my mind. I knew the painting wasn’t just watercolor put on a piece of paper or an illustration of some eggs in a nest. I began to understand that the substance of this idea in my thinking was an inspiring idea telling me that by just changing the place where I mentally stood to look at something, someplace or someone can influence what I would see and experience. I realized this idea didn’t belong to me. It obviously was available in the expressions of other similar ideas bringing clearer ideas to the surface of any thought prepared to receive it. This viewing point began to take me far beyond any mere objective realities outside of myself.
So I totally changed my perception and realized that the idea of having a different view point also contained a fundamental principle teaching me that by selecting a particular mental point for my observations was essential if I wanted to recognize the subjective qualities inherent within the consciousness of all living beings. Such a reality always exists and is usually perceived as harmonious and peaceful. Choosing your viewpoint is similar to visiting the mountains and setting up your camp site so you can take in the beautiful exquisitely expansive mountain vista or choosing to pitch your tent in the middle of the cars in the busy parking lot. Your selected view point also acts as an increased awareness of views that should be avoided. An outlook which would point you toward discord, conflict and unrest would be so uninspiring and depressing it should be rejected at the outset. Sometimes the invisible qualities of thought and character your are looking for, and are unnoticed by your five physical senses, just aren’t there in the subjective reality. An empty space is inexpressible and has no value.
With this turnaround I realized I never did own that idea. It wasn’t me that was nurturing, encouraging and developing my idea. My enlarged view began showing me this idea was developing me, encouraging me, presenting opportunities for me to learn and grow so I could better appreciate an ability to recognize a reality beyond that which is visible to the physical senses and could begin to make the presence of those perceptions visible for others through the expression of art. One could say the idea owned me but I feel that from an even higher viewing point I would see that because the idea and I had worked so closely together there was no feeling of any restrictive ownership, just a mutual supportive relationship taking place as an idea and its expression.
Then I began to think about ideas and about me filling the role of expressing those ideas through writing or art. What and where is the mind that really owns ideas and brings forward all ideas and all creation into existence? I could write more, but this article just told me to stop. NOW !!!
Choose a Reality
A particular and distinct reality encompasses the sphere of your world and this actuality is the only reality you are experiencing at that time. It becomes your reality of choice. Others have access to their own real experiences so you could say to someone, ”Your reality is not my reality.”
The word “reality” generally applies to a state or condition of things as they actually exist or happen. A reality can be experienced, seen or felt by you because it exists in fact as opposed to that which is not a reality but would only be considered as something you could just think about or as being imagined, idealistic or fanciful but not real.
Many realities are constantly being introduced to us for acceptance such as Objective Reality, Subjective Reality, Virtual Reality, Spiritual Reality, Material Reality, Augmented Reality and the list expands because each rhythm in a reality contains within itself an endless reality of sub-rhythms. Unless, of course, you are experiencing an Absolute Reality.
A case in point would be the time I was completely engrossed in the reality of a very emotional, tear jerky movie As the plot thickened I gave a quick glance around me and it seemed every female in the audience was crying. I never completely left the absorbing drama happening on the screen but I did become slightly conscious of a brief sobbing sound near me and quickly assumed there was someone in the audience personally identifying with the plot but that was all the attention I gave it. Then a bit later I heard the sound again as heart felt crying. My real self thought someone might need some help in their trauma so I turned to find its source. Three empty seats from my seat a young teen age girl was making those sounds. But she wasn’t crying, she was laughing out loud as she looked around the auditorium. A bit surprised and curious I also began to look around and became aware of the many white tissues being used to wipe away the tears. At that moment I let my reality change from the dramatization on the screen into a reality I now was experiencing by being part of the audience. Then I chose to enter into the young girls reality. When I observed from her point of view I became more aware of the deep tearful emotions felt by the audience and it did appear very humorous from the perspective of my new reality. Through my art experiences I had learned to become more aware of the endless, though temporary and finite, realities surrounding humanity on a 24/7 time schedule. My chosen realities were an awareness of an existence that I perceived as so real that I could feel it and experience all that it included.
When I tried to get involved again in the occurrences within the play I realized I just couldn’t make that connection anymore. I began looking around the auditorium again and began to notice people and myself just sitting there. As an artist I realized I could center my attention on a variety of expressions of creativity that were involved during the making of that movie or I could just get up and go home. I had learned to enter into and enjoy a painting or a music score or a book and realized I could do that now through the perception of a Subjective Reality by going beyond the moving shapes, colors and sounds that made up the surface of the Objective Reality displayed on the screen.
Looking at the screen again I first became aware of and acknowledged how the photographers were expressing their world by the thoughtful selections of the camera angles, lighting, background shots, etc. This was an enjoyable experience because I was able to connect with their creative talent and understand some of their artistic decisions necessary to bring the entire movie to a perfect conclusion. I began to observe and enter into the reality of the talented actors as they immersed themselves within different characters, emotion and events their artistry was able to pull an audience right into the reality of the events in the scenes because they were not just speaking words but had made the characters so real for themselves that the audience could respond by joining with them, tears and all.
This process continued through unexpected appreciations of realities of the set designers, costume designers, directors and many other sub-realities involved within and beyond the making of the movie. I left the theater with an enriched lasting sense that I had experienced much more than my first intention of just going to watch a movie. Similar to leaving an art museum and knowing I had not just been looking at pictures.
Unfortunately we so often are satisfied with only a Surface or Objective Reality. This limitation deprives us from going beyond the visible or instantly obvious and leaves us incapable of having a broader unobstructed view of all that really exists in front of us. Much can be learned during the development of an appreciation of the Fine Arts that can be carried over into everyday life experiences. You can learn that a reality doesn’t force itself on you. You really can choose your reality. You will be able to go beyond an empathic awareness and enter a genuine reality of your choice totally uninfluenced by the pressures of this world or you can choose to not enter it or to leave it entirely.
The composer and conductor Leonard Bernstein knew this and spoke of art as a form of creating possible worlds, or realities. ”Any great work of art….revives and readapts time and space, and the measure of its success is the extent to which it makes you an inhabitant of that world — the extent to which it invites you in and lets you breathe it’s strange, special air.”
There are several ways you can enter or inhabit the world of a work of Visual Fine Art.
During a visit to the Louvre Museum with our two teenage sons we passed a massive realistic painting of a sixteen or seventeen century battle scene. The boys just walked past it without giving it much attention because the whole painting was very drab, dark and uninviting. I asked them to stand in front of it for a few minutes and let their eyes adjust to the light within the painting. The same way we would enter a darkened room before we decide to turn on the light. After a few minutes they were surprised as the any details, characters and events happening in the painting became more and more visible for them. In a sense they had become connected to the reality of the artist who had envisioned and expressed it as a painting. Such as this MEDITATING PHILOSOPHER, 1632, by Rembrandt van Rijn
Usually you are the one to choose if you want to enter into the reality of a work of art and there are times when the painting reaches out to you and pulls you in and surrounds your very being, I feel this is one reason art museums and better galleries have benches for a visitor to sit and be alone within a painting.
The first time I stood in front of a huge Jackson Pollack painting I felt I was almost being sucked into the very heart of the rhythms and flow of his lines and color.
Another example of being alone in the reality of a painting was when I was visiting the Houston Art Museum. One of my favorite artist is Kandinsky and because I had read his writings and understood the substance, intent and values he deposited in his paintings I became deeply connected, totally enjoying the activities within one of his large paintings not unlike this one. COMPOSITION VII, 1913 By Wassily Kandinsky
When a Docent, followed by a gaggle of Middle School students approached. She went right up to the painting and with an excited voice asked, ”Does anyone see the teapot?” I have no idea what else she was teaching them because I knew I should leave the room before being arrested for brutalizing a Museum Docent in front of children. But this encounter did start me thinking about how many times we are taught and passively accept that looking at paintings is primarily a surface recognition of familiar objects with absolutely no clue that it could be possible to encounter and experience an in-depth perception of a reality that can exist within any form of Fine Art.
Later I painted these three paintings just to show myself what actually would hold the attention of a viewer when they look at a painting. I was not surprised when most comments were showing interest only in recognizable shapes and completely ignoring the rest of the painting. To many viewers, the paintings became a picture of a thing or objects with a background of insignificant whatever. The full reality included in an original work of art is not just height and width but it has both a seen and an unseen depth dimension as well.
Artist and teacher Clay Spohm, one of the pioneer thinkers dealing with Abstract Expressionism, is quoted as saying, ”As far as I am concerned, all painting is a form of realism which falls into either or two very general classifications. Some paintings could be called Objective Realism. That is where the material used deals with the visual appearances of reality in some degree or another. The other kind….is what I would prefer to call Subjective Realism.
That is where the material used deals entirely with subjective things, with feeling meanings, with living experiences…. The principal difference between these two, to put it simply, is that the objective realist believes in (or accepts) only what he sees, where as the subjective realist may believe in what he sees, but for his world of creation, he chooses only to accept that which he knows to be true, because it is that which he feels, and he regards the experience of feeling…..as being very real.”
When you choose to enter into the Subjective Reality of a work of any Fine Art you are tapping into the same energy, emotion, and ideas as its creator. It is not difficult to feel when another persons life force and energy is communicated through a work of art. Unfortunately, at times, when someone is introducing a work of their art it becomes obvious there is nothing very significant coming from the artist or the art with which to relate. That piece of art is shallow but a perceptive observer, who has substance of his own, can detect the void right away. This doesn’t completely devalue those more widespread paintings or crafts that are merely surface expressions of colors and shapes, such as a print or any reproduction of an original painting or a portion of an original. They too have their place in the field of art display. The appreciation of a painting simply because it would look good hanging over the couch or will fill up an empty space is meeting a need for that viewer. Art appreciation is an art in itself having many stages. Any one of them just right for individuals who becomes aware of and appreciates a piece of art that attracts their interest for whatever reason.
Do you ever see yourself or others as representing an outward appearance but having no inward significance? Another question is do you include a reality beyond what the physical senses can recognize? Just how deep is your individual reality? Is your own subjective reality a place where others would want to enter and benefit from?
These are not self-help questions but are questions to ask yourself using the same perception as well known artists use in the creation of their visible paintings or musical scores or writing. The skills we learn either by being an artist or by simply appreciating art in all of its many forms are readily available to be applied to our own and others enrichment of everyday experiences. You chose your reality.
My paintings are hanging in the gallery. To view them and get more information click here.
Here are some quotes from artists who understood the subjective phenomenon and their role in expressing it.
”Creativity is essentially a lonely art. An even lonelier struggle. To some a blessing. To others a curse. It is in reality the ability to reach inside yourself and drag forth from your very soul an idea.” Lou Dorfsman
”What is real is not the external form, but the essence of things… it is impossible for anyone to express anything essentially real by imitating it exterior surface.” Brancusi
”They thought I was a Surrealist, but I wasn’t. I never painted dreams. I painted my reality.” Frida Kahlo
”I do not literally paint that table, but the emotion it produces upon me.” Henri Matisse
”Good art is not what it looks like, but what it does to us.” Roy Adzak
”I applied streaks and blobs of colors onto the canvas with a palette knife and I made them sing with all the intensity I could…” Wassily Kandinsky
”The true work of art is born from the Artist: a mysterious, enigmatic, and mystical creation. It detaches itself from him, it acquires an autonomous life, becomes a personality, an independent subject, animated with a spiritual breath, the living subject of a real existence of being.” Wassily Kandinsky
”The aim of art is to represent not the outward appearance of things, but their inward significance.” Aristotle
The Metamorphosing of A Save
This article will take you into the thought processes of an artist who allowed ideas to develop and change from a point to a line and moved toward their final visual emergence as individual paintings of a Save.
Most artists can identify with this transformation of ideas but usually the morphing activity occurs so rapidly the actual procedure becomes insignificant. With the Save paintings a time warp occurred which greatly reduced this process because I was totally engrossed in what I did NOT want to paint in deep contrast to the standard positive approach of painting something you would LIKE to paint. A sub-title could be ”How Not to Paint a Vase” but that title seems way too pedestrian so it stays now as it is.
The starting point of this mental adventure starts exactly there.…at the Point. In his book, ”Point and Llne to Plane” Wassily Kandinsky gives detailed examinations of these unseen forces or voices present within any painting or drawing. He calls them the three primary Planes that are the basis for the construction of a painting. He explains the beginning of any drawing is when the pencil first touches the paper and makes its mark. In the Visual Arts that point can remain in its initial round shape, have endless sizes and colors which lend themselves to many uses, especially in design work. It can also force itself to form many irregular shapes while still maintaining its point status. For an artist the most important characteristic of the point is when it fulfills its endless potential and extends itself outward to form what is termed a Line.
Here are two Saves. All five are in my gallery.
On my sketch book page I first created a point and then let it flow outward and upward into a line with a pleasant contour that I enjoyed following. I drew another identical line and placed the curving lines in opposing positions facing each other but not touching. As usual when this proximity occurs the mind will begin to merge them together and the lines will appear to take the form of a shape. This time the mental shape looked like a vase. Being an abstract artist I certainly didn’t want to form or draw a vase with those gentle flowing lines. They needed to have the freedom to present themselves as individual lines and not be used to have a finite concrete objective existence.
How could I enjoy the lines and not have them objectify a vase? As I began to ponder what makes a vase a vase I countered each vaselike attribute making sure that it was not represented. First a vase is a vessel with an opening at its top where things can be placed inside. To stop that concept I drew a line across the top of the two vertical lines.
Because the bottom of a vase is closed and flat it can stand alone and hold liquids and objects. So this visualization was stopped by drawing a lower line between the two vertical ones to make it appear that any vaselike perception would be of instability and could not give the impression of being able support a vaselike form.
A vase is three demential. This thought was negated by making an empty place or opening in the middle of the four lines that would establish this as a flat space and not round. Then the lonely horizontal line at the top asked to have something put on top of it. Now each Save has its own activity happening on its top horizontal line. To hold the four lines together so the painting could appear as one whole non-vaselike shape I painted different colors in between the four linear boundaries.
What was I to name this arrangement of lines? In deference to the continuous attention I had given to a vase I decided that word should be represented but not as a vase since this drawing really was not of a vase. Using the letters in the word VASE I named each drawing a SAVE distinguished by it color.
A Mobile Line
I was asked to accompany such a line for a visit to an art museum where he had been included within different paintings for many years before the museum closed. This line had the ability to extended itself so far beyond its point that it could now enjoy its freedom through its own unrestricted movements.
As soon as we arrived at the museum he looked down the large gallery that had been so familiar. When he crossed over himself he formed a shape. In this shape he caught many memories of colors and events from the past. Then he wandered to the corner where a sculpture once stood. He again crossed over himself and formed almost the same shape and color his favorite sculpture had represented.
After a while he realized it was time to be moving along and left the museum through a window opening. He hesitated several times but finally turned around for one last look and formed another shape that was full of clearer and more detailed memories, Not being one to linger he then happily took off by himself for more adventures.
These paintings are hanging In my gallery.
To view them and get more information click here.
The Missing Piece
There may be occasions when you find yourself going over and over an event or a decision which just hasn't fully left you with a settled feeling that a final solution has been reached. You have a strong uneasy sense that something is still missing because there is no real closure or feeling of satisfaction that every piece of the entire puzzle was put into place before calling it solved.
The big picture was very evident, except it seems there should have been, or could have been or may have been something more to recognize in order to leave you with a better sense of satisfaction that your dilemma was finalized with nothing left out,……and so your search for the one indispensable piece continues.
This painting shows puzzle pieces in a basket all having the same shape. The sizes and colors are different but they all represent, what I call, that one vital piece. Whenever it is in its place the puzzle is complete and your thought is at ease. Here a life lesson can be learned and used when conundrums come your way; that if you put this particular piece in place first it is never considered a missing piece. You build the puzzle around it.
Look thoughtfully into your mental basket for your absent piece and watch how easily it fits into any unfinished puzzle. This pivotal piece is readily available but is often overlooked or not taken seriously at first.
The piece that is the resolution for any unfinished puzzle is always Love.
My paintings are hanging in the gallery.
To view them and get more information click here.
When Inspiration Explodes.
The shapes in this painting are abstract expressions of three styles of thinking .
The black shapes in the background are thoughts depicted as inactive images showing the heaviness of cold apathy and the darkness of indifference who are barely aware of their own presence.
The orange shapes are moving thoughts bound by a propensity to remain rigid with a strong need to act like everyone else. In the manner of pendulums these thoughts swing back and forth from a common source, not wanting to appear out of place or out of pace. Their movements are obvious although they are not really going anywhere or accomplishing anything. Their monotonous routine is too often accepted as the norm.
Enter a lively free thought filled with fresh inspiration whipping out of nowhere in particular. This shape resembles a pod that contains developing original ideas. Who knows where it came from, or better, who cares. Its appearance is unusual, its direction unpredictable. One thing is certain that when inspiration begins to express itself more fully then the potential and influence of those ideas will be seen and felt.
After I completed this painting I accepted it as a finished piece, and named it INSPIRATION. I enjoyed its message for many weeks as I identified with the pod. Then I began to relate back to my own experiences with inspiration and I realized there was a another painting waiting to be painted. I knew that little pod would continue to grow and expand as it gathered more fresh ideas. Inspiration does that.
Given a ‘free reign’ ideas will mature, gathering energy sometimes from within themselves or from each other or from other sources of inspiration coming into the artists atmosphere of inspiring thoughts.
At times a creative impetus will compel an artist to paint, dance, write, sing, compose, arrange flowers or find a fresh spiritual insight. This is the time for those ideas to be expressed in ways that only that individual thinker can express them. Those original expressions of ideas are ready to be released out into the world for others to enjoy, benefit from and perhaps also feel inspired. The other painting began.
The little pod of inspiration did develop and ripen until its creative ideas freely burst forth into the world. Like so many outpourings of creative seeds that swarm from an artist when inspired there are still choices to be made. Which ones to develop, which ones should you go back to later or discard for now?
The background shapes in both paintings are identical. Only their colors have changed. The effect these creative expressions had on its surroundings can be seen by how its very presence acted as a light that brightened its entire environment.
The black shapes still don’t move but they have now come out from the oblivion of apathy and darkness with their stiffly structure
Also in this fresh light of the inspired thought, the dark orange shapes in the first painting are brightly reflecting light as they collectively swing back and forth. Because of this clearer perception of themselves and their environment it is possible for them to begin to look around with a more expansive view of what has just occurred and perhaps break away from the rigid uninspired existence they have always known and accepted.
d inactivity. They can no longer be overlooked and are able to be recognized and accept themselves as being part of a complete world picture even while continuing to express their static existence. Or in this new light they could begin to express more life and movement because the newfound expression of their vivid original color is more apparent.
What is true about inspired creative ideas is also true about the individual artist nourishing his inspiring thoughts. Every thinking person can realize they too have the ability to see and become part of a freer, unfettered expression of themselves and of their world by giving attention to the enlightened ideas coming from within their own conscious awareness of their existence.
At times we find dark views of discord, confusion, conflict, hate, etc. motivating our inspired impulses. With any idea you are inspired to express openly you should give very serious attention to just what effect or influence your thoughts will have on others both individually as well as collectively.
My paintings are hanging in the gallery.
To view them and get more information click here.