There is a very good reason I am showing you old work today. I promise...well, aside from the fact that I am still working on the new stuff. I will tell you...
On Tuesday, Robert Genn talked about Emotion in Buying in his popular newsletter, Painters Keys. His posting was talking about how he observed a couple buying a painting, and they knew immediately they loved it. Once they realized that, they immediately went into the size, colors, etc. They almost did not acknowledge why they were drawn to a particular painting, they just knew they were and moved right into the facts. You can read the post and see my response here.
This, you say, is the reason you are pulling out old stuff? Well, with these, I have some emotional responses from people who do not paint. I thought it would be interesting to share the responses with you who do paint.
This painting is called, Near Violet, which I painted in response to the light I found so intriguing when we first moved to England (24 x 36 Acrylic). A friend was visiting us when we lived in England and saw this painting. He was very taken with it immediately (but couldn't get it back to his country with him). The entire time he was visiting, he kept looking at it. I asked why he liked it, but he wasn't sure. On the other hand, I have never had anyone else who connected with this painting the way he did. As a matter of fact, my son often walks by it and shakes his head wondering what in the world I am thinking not to have painted over it yet.
This is probably one of the most traditional works I have ever done...I know, I know you are laughing. These are Channel Spring 1 and 2 (18 x 18, Acrylic). My mother fell in love with these. She doesn't seem to be able to get her head around anything else I create, but these seemed to work for her. They are now framed (in very traditional oak frames made by my father) hanging above her bed. For me, they hold very little with the exception of test canvases. I was about to paint over them when she saw them, too. So once again, she saw it and boom.
This is Elizabeth's Painting (24 x 36, Acrylic). I was clearly experimenting with pouring here and had a good time doing so. When my daughter saw this painting she adored it. When my children love any paintings, they belong to them...no matter what! My daughter is quite classic in her tastes, so what drew her to this painting? She loves wearing skirts, pearls, etc. But this painting spoke to her and is now in her little cottage in California. Here is the thing, my husband feels sorry that I have had so many problems with this painting...all of those runs have to mean I made a mistake! I have to say, my daughter's educational background is very creative and being a writer she sees things others often do not. Does that explain it?
I find it interesting to see how non-artists respond to any paintings. I am usually really jazzed when a painting speaks to them...of course I am. But when I hear statements like, "Any child could have done that mess...how can you call that painting?" I am offended (and this is not in response to my work, but in a museum or gallery...no one would be that rude to say that to my face, would they). But it tells so much about people in listening to what they have to say...it means very little to the art itself. Of course it makes us question, but what is said by these people comes from a place of not understanding expression. What do you think? Tell me about your experience with responses to your work by non-artists. I know there are some beautiful/hilarious stories out there.
And speaking of children...Fiona (you know Fiona from yesterday's post) poses an interesting question on her blog. Her question is "Why Is Art Like Childhood?" Do you have any thoughts on this? I responded to Fiona on this subject.
Everyone have a beautiful Weekend! Remember next week...early in the week, too. I will be having another conversation! This time, it is with Barbara Wilson...you probably know her as Babs! You are going to love getting to know this wonderful artists even more.
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