Graduate
Thesis excluding the Outline, Figures, and Illustrations: Andrea Allegrone
I.Technical, II.Historical, and III.Aesthetic Components IV.Afterword
(not the final, fully edited version:
digital file is corrupt)
Questions posed by the faculty had to be addressed and the separate areas
overlap (redundant).
My first semester of graduate school leads me in the wrong direction. Actually I lead myself into a dead end. At this time transcendence occurs. I am awakened and reborn as an artist. But, initially I choose wax as my painting medium. I only use it once before in a "methods of painting" class. I believe this medium will challenge my abilities and open avenues for exploration at this time. Having several classes and personal experiences with oil and water based paint in the past, I strive to "try" something different. Yet, I experiment with this medium enough to recognize its limitations and my increasing dislike for this "type" of painting. Although my previous established painting styles and trends do not conform easily to the encaustic method, it is not entirely a waste of time. This experience definitely strengthens my technical skills as an artist, particularly my patience. Overall I consider the encaustic process a tangent in my academic career. After the first semester I return to my preferred acrylic stain medium which I will elaborate at a later point.
Although this process becomes
ultimately disappointing, the road I travel to this end is somewhat
exciting. I first consult the Dick Blick
catalogue. I order several blocks of wax both refined and
unrefined. I also order Encaustikos brand
blocks of pre-mixed colors. All the materials are provided for during my
“painting/methods” class taken at
First of all the word
encaustic is derived from the Greek word “encaustikos”
meaning “to process with heat” (Huffman 1). Melting the wax with Crayola crayons and Enkaustikos
pre-mixed colors as well as turpentine and Damar
varnish or a similar resin (Mayer 325). Basically my recipe consists of:
- one part wax
- one part Damar varnish
- one half part turpentine (Shiva rectified turpentine)
- one part colored crayons
- one part Enkaustikos pre-mixed medium
In my case this also involves one blowtorch, one cloth mask/filter (rarely used), and a lot of patience. It is not enough to heat these elements to create a “warm palette” (Mayer 325). The liquid or paste-like wax must “burn in” and adhere to the surface by applying heat. I prefer a blowtorch over my tungsten heat lamp.
The recipe for the mixture varies in order to obtain a desired effect upon the surface, which in the beginning mostly consists of primed (prepared) canvas. Manipulating the consistency or viscosity of the medium as well as its transparency and luminosity relate directly to the melting point and properties of specific colors and variations of the mixture. These variables also affect the adherence to the surface (the time and temperature involved). After the surface is dry, one must buff this area with a soft cloth to reveal the traditionally shiny (glossy) appearance characteristic of encaustic art. This process is similar to the visual effects of waxing a car.
I work with the canvas or masonite lying flat on the floor with no exception. Once the layer of color is applied and burned in, how the subsequent layers react with the adjacent or underlying layer is exciting. This can be controlled based upon past experiences. Yet how colors mix with the others already part of the surface through melting always contain an element of surprise. These affects are achieved by using a blowtorch. I am able to concentrate on a specified area as opposed to the tungsten lamp. One might say that the blow torch truly acts as a “brush” since I mostly pour single layers, sometimes a couple simultaneously, directly to the surface from my metal containers. Only occasionally I will use an old brush or a plastic spoon as a painting tool. My favorite part of the encaustic method is mixing the colors already on the surface with that of the recently applied layer. I thoroughly enjoy this step while I ignore the smell or realize the inhalation risks. Silver for example seems to form particulates of color similar to snowflakes when melted with another color on the canvas.
My personal formula is basically
adapted and improvised from various sources including: a classroom
demonstration, Ralph Mayer’s Artist’s Handbook , my Enkaustikos!
workbook, and by word of mouth. Generally I favor thick layers of rich
color. The Encaustikos premixture
leans to a transparent layer when added to my formula to increase its
quantity. So I add several crayons to this mixture to increase intensity
of color and viscosity, thus formulating my mixture requirements. The
recipe is not written in stone. It functions as a guideline.
I use regular as well as rectified turpentine. The difference is not
really noticeable. The less refined beeswax works well only with certain
color combinations (mixtures). Stretched, primed canvas is adequate to
uphold these thick layers of wax. This primed and protective, base coat
of paint causes the surface to be more durable. It will probably last
longer than unprimed canvas I assume. (I do not personally test
this nor do I wish to.) However, paintings are not fossils and are not
really created with the intention of lasting forever (mine are not anyway).
Ironically a painting will most likely outlive ourselves. Later on during
this first semester I turn to masonite panels which I
purchase at Lowes in
Despite my dissastisfaction
with the hard surface and wax medium in particular terminating the semester, I
come to significant realizations. I discover what inspires me and
precisely how I will achieve this through the painting process. In
summation the disadvantages of using wax become predominant, for example: the
overwhelming odor (these nauseating and obnoxious fumes linger), the toxic
inhalation ramifications especially when these chemicals are heated (notice the
warning labels of the individual containers not to heat or inhale), its slow
process, and its impermanence considering its heat and light sensitivity.
Yet there are exceptions and conditions to every rule. Wax is supposed to
be one of the most “durable” mediums traditionally. James Hendricks, the
instructor from the painting/methods class at
After being discouraged with the smell of melting and burning wax (sometimes canvas), the mere idea of the water based acrylic medium seems “as in a dream” and lightens the heavy load of wax build-up and residue.1 Acrylic staining is my “savior” academically speaking. This free-flowing medium has a life and spirit of its own. After all the stain layers conform to the properties of water, the universal solvent. By directing the flow of the paint through gestural application and/or by tilting the stretched canvas allow gravity to absorb and take over. This process of paint application is fairly quick and refreshing. It is nothing like waiting for the wax to melt which involves at least ten minutes. But, every second is excruciating while inhaling the obnoxious fumes. Nor do I have to spend more time burning the layer into the canvas. I simply pour the water medium usually to a stretched, unprimed canvas lying flat on the ground. Sometimes I allow the layer or layers to dry overnight or for a couple of days depending on its density. It is not until later in my academic career as an artist until I experiment with an unstretched surface. Towards the end of my academic term I keep the paint untouched and add no water, thus waiting however long is necessary for it to dry properly. But this period is advantageous since it provides a time for a renewed perspective or outlook on the painting and its progress. In other words the drying time is valuable. It enables me the opportunity to plan my next move and to sketch the various options.
Mixing the paint is also
painless. I save numerous jars and plastic soda containers. A
decent portion of my studio is devoted to storing these countless 20oz. Pepsi
containers which are either empty or hold my concoction of stain. Now
this formula is far less complex than its predecessor. Generally each is
filled with about one third or more of acrylic paint, another third of water
(more or less), and a drop of Winsor Newton
acrylic flow releaser which helps disperse the mixture upon shaking. I
use gallons of Blickrylic usually. Once again I
favor liquid acrylic over the expensive and toxic powder medium. But I
also use Chromacryl or Liquitex
Basics to form variations and mixtures of color and stains. The
bottle or soda container acts as my “brush.” These products are purchased
and ordered at Dick Blick. These
soda bottle mixtures are my most precious painting tool and economical too
since I reuse them. Some of the water bottles have a drip-controlled
top. Sometimes I spray a layer on with a Windex container. At times
I will pour a layer of pure water straight onto the canvas in order to further
guide the following layer of stain. At other times I will pour a layer
onto the canvas and spread it around with a sponge, paper towel, or even my
hand. But usually the flow is directed by quick thrusts of my arm and
wrist. There are times when I use my bare hand but in most cases the
stain is splashed out of one of my various containers. The only
drawbacks of this method of painting include the occasional jammed lid or top
due to dried paint. In all likelihood the top can be forced off after
much frustration. But sometimes it remains jammed. This is really
not an issue nor does it interfere with the entire process. The
bottle can always be cut or broken and the paint re-contained. On the
other hand many old brushes used during the wax process are disposed of or can
only be used for mixing a batch of similar colored encaustic. Dick Blick I might add proves to be a reliable and consistent
source for materials. I cannot help but mention the peculiar incident of
requesting a
The beginning of the second semester at Bradley involves ordering unprimed canvas as the absorbent surface for the acrylic paint flows. In an Abstract Expressionist manner, Ken Hoffman, my painting instructor suggests working on a large scale. It presents a challenge since I have never previously produced a stained painting larger than 2’x4’. I’ve completed large oil paintings but the process is entirely different. I figure that it will be only logical to paint my themes concerning natural forces and atmospheric environments on a large scale. Also coming from an area of the northeast which is mountainous and highly vegetated, the midwest sky prompts a personal inspiration to work on an expansive scale. So, I begin to produce a series of paintings which are approximately 6'x8.’
Thus, I once again consult the Dick Blick catalogue to order a couple of different types of canvas. I choose a “no.12 double-filled-Extra heavy, wagon-cover grade, cotton canvas. Unprimed. 11-oz.” (Dick Bick 114). This type of canvas I purchase twenty yards of at 84”. I also try about fifteen yards of a thicker canvas, “no.10 Extra, extra heavy” at 14 oz. And 72” wide (Dick Blick 114). I later continue to use the no.12, 11oz. canvas because it is available at 84” wide and this larger scale seems to complement my artistic endeavors. Scale became a priority. In a nutshell this is due to the “grandiose” subject matter, mostly embracing the concepts of Abstract Expressionism. This will be elaborated on in full detail in the accompanying parts to this comprehensive exam. In addition I use smaller surfaces for their convenience of moving and for studies for the larger works.
While I wait for this order to arrive at the onset of the second semester, I purchase about ten yards of cotton duck at 72” wide at the fabric store. This kind of material is an extremely light-weight version of what I order. It is somewhat see-through before paint application. From experience I learn to stretch my canvas tightly, since I do not use gesso which “primes” the canvas with a base-protective layer which creates a secured surface. I do not prime the canvas in order to allow the water based stain to absorb directly onto the raw cotton duck. The color maintains a freshness and has a temporal quality. This emphasizes spontaneity and the significance of space and time being unique and specific. I never intend my paintings to live forever. I strive to capture a moment. The outrageous prices of museum works or those in private collections which are regarded as “worthy” must cause most artists to roll over in their graves. After all a painting is simply a painting. It is cotton and wood.
I stretch the material that is bought at the fabric store about four times since it buckles after the original layers are applied. Thus the heavier canvas from Dick Blick works best and usually never has to be restretched. Typically I apply one layer of paint at a time. Sometimes I work with several layers, “wet on wet.” Generally speaking near completion of the painting I employ brushes and thicker paint. I mix it with the matte medium and/or combinations of sand, glue, sawdust, latex, oil, Jeffrey Alans plastic birds, and other media (see figs. 4-8).
I never construct a stretcher before
I come to
Before my graduate school days I never paint on unstretched canvas. Neither do I attempt to work on an unprimed surface. Nevertheless I discover the unstretched surface opens doorways that I did not realize existed. Actually what happens is I am in a total wreck, car accident which injures my neck and spine, thereby limiting the “physicality” of the entire painting process. Stretching the canvas is not an option immediately after the accident. It is not until this time that I open my mind to other avenues which are suggested by my instructors. Paul Jenkins actually builds an underlying ladder-like structure to fold and contort this cotton material and provide a three-dimensional surface to absorb and direct the flow of the paint, according to Albert Elsen in his novel, Paul Jenkins (73) (see figs. 9-10a). I on the other hand use haphazard structures of support such as plastic buckets, chairs, cinder blocks, etc. Yet at times I bunch up the canvas and let the folds relax and manage an arrangement on their own. Timing is a key factor in this layering process. The thickness of the liquid medium also must be taken into consideration in the event of overlapping layers of canvas (or areas which are closely folded over). One time I wait over two days to pull apart the initial stain of a “folded” piece of cotton duck which I apply a fan to. The paint acts as a super-glue agent and I have to cut the canvas apart. Usually a day is ample time to unfold the surface. In some cases a day might even be too long for this cotton duck to straighten out, flat on the floor. If this is so the product has a three-dimensional quality.
I must emphasize the convenience and versatility of painting with unstretched cotton duck. One can always stretch the material after it has been painted on. Usually the material takes up less space on the studio floor due to its pliability. Less stain will run-off the canvas to the floor since gravity captures excess paint in folded corners. This is not always the scenario but generally, the process is less messy than with the stretched surface. As I mention earlier the stain has a life and spirit of its own. In this case the canvas also adapts the character of this “free-flowing” medium. It increases the factors controlling the flow and absorption of the paint as well as the thickness of the canvas (whether it is permanently folded or “cemented” together). I even become bolder and less inhibited with the application of the paint layers. I am not afraid to create a heavy, build-up of paint upon the surface since it does not weigh down the canvas that is stretched (see fig. 11). On the contrary, an appropriate or stronger underlying stretcher can be built after the painting is complete. One final advantage of painting in this unstretched manner involves cutting the material and collaging it. The process of collage, similar to the consecutive layers of stain adds another dimension to the surface, in its texture and meaning. This method of literally “painting” with the canvas is achieved with Elmer’s Carpenter Wood Glue and increases my artistic license.
The unstretched surface provides the most versatility in the painting process. Yet, I still enjoy the pre-stretched canvas approach more. The limiting aspect of the stretched canvas challenges me to produce a finished and complete surface rather than using a knife or scissors and destroying the piece. I am able to stop between the layers to sketch or consider the direction or implications of the painting. I will sometimes break for various periods to determine the visual space concerning its composition, personal, historic, aesthetic, and universal impact. Yet, a lot of this occurs automatically subconsciously, I believe. I feel that too much planning ruins the artistic process in an expressive way. Passion as well as mood, and spontaneity encompass my art. Intuition should not be discarded in this process. An integral component is innate. In many ways the technical portions of my art encounter the ideas of Abstract Expressionism. These paintings represent unique moments in space and time. They embrace an emotion, a feeling, and spontaneity. This temporal quality of my unprimed, stretched or unstretched canvas parallels the delicate factors which affect everyday life or moments of time. The inspiring subject matter of natural forces involving earth and the universe acts as a microcosm of the individual. Cycles of nature and their power reinforce polarity. This is an innate duality concerning unpredictability and inevitability. This dichotomy embraces life itself. The uniqueness of a cloud formation provides an inspirational example. It is momentary and forever changing in this dualistic manner. My themes involving destruction and rebirth also are evident in the technical aspects of my work. The physical destructive nature of cutting the canvas and creating a collage is an example. The process of “devirginizing” the raw canvas whether it is stretched or unstretched is a perfect example of the cyclical thematic process.
Conclusively, acrylic stain on stretched canvas is the preferred choice for my artistic endeavors at Bradley. The unstretched canvas does take up less storage space yet galleries do favor the stretched pieces. Thus this process is not a short cut. After chiropractic visits and therapeutic exercise due to the accident, the process of stretching can no longer be avoided. Ironically, the disadvantages of the wax process lead me in the right direction for my MFA at Bradley. The temporal quality of the wax (heat and light sensitivity) and its layering process on stretched canvas provide the basis for my exploration throughout the graduate program. It is my adverse reaction to the wax process which focuses my direction in painting. The acrylic-stain medium is economically sound especially for a student working on a large area of cotton duck. The freedom of the water based medium including the relatively quick drying time, agreeable smell and versatility in combination with other mediums in relation to the canvas, create the logical solution to my wax hang-ups. Although I enjoy using the unstretched canvas and continue to, I prefer the traditional method of stretched surface and its significance embracing my concepts and themes. This process also inspires me to focus and paint well. Spontaneity and integrity are maintained since the boundaries of the edges already exist. I do not view this as a limitation. It is a challenge. Through this technical process my ideas or vision of the world and of life itself is best expressed. The multiple layers represent life’s complexities, cycles, and variations. These paintings are planes of existence specific to space, time, and my concepts on both an individual and macrocosmic level.
II. HISTORICAL
Outlining the roots of Abstract Expressionism, one must begin with war, upheaval, and depression on a world scale. The American role in Modernist art, during the mid-forties throughout the sixties, dominates this cultural scene as a precedent on an international level. Abstract Expressionism is primarily an American movement. The birth of this movement reflects natural historical cycles involving regeneration, reconstruction, and ingenuity. Abstraction as well as Expressionism becomes progressively popular in the art world prior to 1945. Yet the end of World War II upholds the logical mark for the beginning of artistic and cultural trends in American painting. The Depression of the 1960’s also influences specific themes, styles, and documentation. Yet, most art sources begin with 1945 when considering the onset of American modernity, Abstract Expressionism.
This American movement affects the
modern art world in a revolutionary way. It is comparable to how Cubism
changes perspective in a visual sense (Anfam
7). Objects, perspective, and tradition are set aside for the subject
matter in these paintings. A metaphysical sensibility and a transcendence
is associated with theme, form, color, and application. Two critics
supporting this art interval include Harold Rosenberg and Clement
Greenberg. Generally
Stephen Polcari iterates that it is not until the early seventies when Abstract Expressionism is defined and establishes guidelines for interpretation (xviii). Thus a third development to the artistic interval arrives. According to Polcari this concerns "traditional iconographic methodologies" to decipher the meaning and "cultural context" of the works. This "revisionist criticism" is supposed to replace both Action Painting and formalism. It evolves in reviews of the artists Dore Ashton and Irving Sandler. This is now a movement involving "serious subject matter" (xvii). Edward Lucie-Smith in his text, Visual Arts in the Twentieth Century, basically agrees with Stephen Polcari concerning the American roots of Abstract Expressionism. He states that the period, being closely related to Surrealism, has "a big impact on artists" after the exhibition of Mexican art at the Museum of Modern Art, New York, in 1940 and after the American Indian art survey "which opened to the public in the following year" (188). Edward Lucie-Smith also claims that artists at this time "now saw themselves as engaged in a search for American roots of a more thoroughgoing and fundamental kind than had preoccupied the Regionalists during the Depression years" (Lucie-Smith 188). Yet, Lucie-Smith also claims that this interlude is generated "simultaneously in different parts of the world, each with an independent genesis " (188). A third influential critic besides Clement Greenberg and Harold Rosenberg is Thomas Hess (Cateforis 1).
Yet it is not until years later when
the third "development" occurs within the movement. History is
always rewriting itself and such is the case with the period's criticism and
interpretations. In 1943 the Bollingen
Foundation introduces Jungian thought to
There is danger in categorizing or
classifying, since there usually are exceptions to every rule. Yet it is
necessary in order to exist in a “structured” and civilized society. This
is especially the case recognizing cultural trends and patterns reflected in
the art world. Movements depict specific or common styles, themes, and
goals of the artists. There are a multitude of factors affecting and
“inspiring” this movement. It would be impossible to mention them
all. Often movements overlap or are “revisited” through a revival.
But usually ideas are adapted and modified or appropriated from previous
movements. Certain artists foreshadow this movement. Wassily Kandinsky is recognized
for his investigations of “pure abstraction” in the early 1900’s (Lucie-Smith
91). Of course he is not the first painter to consider abstract art, yet
he is noted as such (see fig. 13). Georgia O’Keeffe’s “precisionist
paintings” lean towards abstraction with her large views of natural
forms. Yet O'Keeffe's paintings also are associated to a contemporary,
Arthur Dove and the "Synchronists"
(Wheeler 27). Stuart Davis approaches abstraction during this
time. In
In addition to appropriation, a style or trend can cause an "anti-movement" or a reactionary style and philosophy. The drastic and radical nature of Jackson Pollock's works for example must be a reaction against Regionalism. Although Thomas Hart Benton, a prominent Regionalist painter, is a teacher and mentor to Pollock, a reaction occurs and new ideas are spawned. Jackson Pollock definitely facilitates and energizes Abstract Expressionism. Other Regionalist painters exhibiting much less drama and animation characteristic of Benton's murals, such as Grant Wood with his American Gothic of 1930 clearly epitomize the desolate American spirit of this period. Edward Hopper's paintings are also prime examples of the popular deserted building or American house reflecting a spiritual void and the Depression. It is no wonder artists like Pollock and De Kooning react to such regimented American roots which only cry out for expression and abstraction with an international edge (see figs. 14-15).
So, why exactly is Abstract
Expressionism American? Also what does 1945 have to do with a cultural
influence? In order to answer these direct questions we must first
understand the modern art scene prior to this time. In NY the 1913 Armory
Show truly is a landmark date which causes profound reactions in
Above all of the events which keep
the American movement competitive, the AAA is formed in 1936. Some of
these artists include: Jackson Pollock, Willem De Kooning,
Clyfford Still, Franz Kline, Philip Guston, Arshile Gorky, Robert Motherwell, Adolf Gottlieb, ad
Reinhardt, and Lee Krasner. According to Anfam, Hofmann is noted more for being a mentor or
"technical tutor" since he teaches for several years after moving
from
Intellectually, Surrealism establishes the tone for Abstract Expressionism. In several ways the writer Andre Breton, with his Surrealist Manifesto of 1924, influences the tenets, techniques, and goals of the Abstract Expressionists. Smith quotes Breton defining Surrealism in Surrealist Manifesto: as “pure psychic automatism through which it is intended to express, either verbally or in writing, the true functioning of thought” (135). He also states there is an “absence of all control exerted by reason” as if dreaming (135). In 1928 Andre Breton publishes Surrealism and Painting (Lucie-Smith 111). A few precursors to the Abstract Expressionist period who explore Surrealism include: Salvador Dali, Joan Miro, and Rene Magritte. Yet elements of Cubism and Expressionism are "synthesized" and appropriated along with Surrealism, spawning Abstract Expressionism. David Cateforis claims in his book, Willem de Kooning that "by the late 1940s,… original and highly personal styles of abstract painting" are formed (1).
It is a time in American history when literature and the arts are affected by world as well as national events. It seems through introspection and "spirituality" especially in relation to the sub-conscious and REM state, dreams provide inspiration to the individual. In turn this adds to the collective national identity. Dreams are necessary in times of upheaval, destruction, and chaos. Abstract Expressionism, "the major new artistic style of the 1940s" is now ready for renewal at the end of WWII in 1945. It is reborn exhibiting cycles of nature encompassing destruction and rebirth, forming a perfect circle and thereby establishing continuity. Lucie-Smith elaborates on the increasing confidence of the American economy and stability surrounding:
subjective reinterpretation of a peculiarly American myth, that
of the frontier, and of the way in which the individual was em-
powered to push that frontier forward according to the dictates
of his or her own will (183).
However, this artistic episode also reckons with obstacles furthering the cycle. The Depression is felt on an international level as well. Feelings still present from previous wars including the Civil War are not exactly forgotten. Nor are conditions golden anticipating the Vietnam War or underlying situations concerning the Cold War and the Korean War. Therefore, these unsettling undertones of international tension feed the Western world with literature embracing the subconscious. On an individual level, the writer and philosopher, Lucian Freud investigates the subconscious. Carl Jung elaborates on the collective unconscious. Andre Breton is very influential along with other writers such as: T.S. Eliot, James Joyce, Herbert Read, Jesse Weston, John Graham, and Nietzsche to name a few. Of course other artists including sculptors, photographers, filmmakers, musicians, dancers like Martha Graham, and the media also flourish with cultural themes surrounding the movement. For example, Polcari mentions one Jungian movie entitled, The Mortal Storm (44).
So what are the tenets, goals, and techniques of Abstract Expressionism? It is a period which is complex in nature since it incorporates artists of various styles and backgrounds such as: Jackson Pollock, Willem De Kooning, Barnett Newman, Clyfford Still, Robert Motherwell, and Morris Louis. What these artists lack in common regarding technique or individual subject matter, they share in tenets and goals characterizing this artistic interval. Hindsight allows specific guidelines to be analyzed and discussed in detail. Polcari quotes the writer James Joyce's description of the movements "stream of consciousness" as being "non-narrative" embracing an "expansive style that was a continuum without focal points" (36). Without a doubt this art depicts nature and continuity, by rule or tenet. A "push-and-pull" tenet is derived from Hans Hofmann basically concerning the creation of space and the illusive significance of color. This tenet pertains to some Abstract Expressionist art involving color and spatial juxtaposition (Anfam 56). This aesthetic is not necessary. Look at Jackson Pollock's art for example or de Koonings later works. Other tenets include psychological analysis or exploration involving the human condition both Freudian and macroscopically Jungian on a national and universal scale. Another tenet common to these artists involves a "secular spirituality" according to Polcari (33). Primitivism dealing with innate associations, memory, icons, and instincts is another significant tenet. These usually singular and simplified images are powerfully symbolic in a visual as well as metaphoric sense. Others relate to mythology, anthropology, and usually a metamorphosis (see fig. 17a). Automatism and "free associations with icons and paint application can deal with technique as well as tenets. Yet goals of this cultural period investigate "experiences" on an individual as well as collective, universal level and express or evoke emotion. There is a spontaneous factor generally recognized by this movement distinguishing a definite mood relating to a specific space and time, whether it is a Pollock or a Newman. This is a metaphor for life itself. The particular delicate balance of a specific color applied to a certain surface at a definite time creates this individual "experience." This should also evoke a universal experience through "secular spirituality" or a transcendence which exists in our world of "mass consumption" and world wide technology (Anfam 25).
More and more people are attracted to "new age" mysticism abandoning traditional religion. Is one religion really superior to another? However, religion is not negated during this movement. There simply exists a more open-minded awareness or belief system and interpretations attempting to explain and inspire people after and during times of turmoil especially war. Overall the artist strives to express a mood or somewhat emotional experience with national and universal undertones employing automatism and a continuous, non-representational manner which searches for a cosmogonic transcendence or transformation in accordance with modern thought.
Jackson Pollock, my favorite artist as well as being one of the greatest, truly innovative American artists, is one of the forerunners of Abstract Expressionism. In every aspect of this movement Jackson Pollock's paintings uphold prime examples. Although formerly labeled as "the Dripper" upon reflection he represents much more. He and his work are Abstract Expressionism in a nutshell. Encouraged and inspired with a similar energy as his teacher, Thomas Hart Benton, Pollock literally embraces automatism as a mind set and as a standard for his technique, thereby transforming the meaning of expression and abstraction.
However, Jackson Pollock insists that automatism is only employed during the beginning of the painting experience, according to Pepe Karmel in his text, Jackson Pollock citing an Artnews essay by Goodnough (94). Pollock invents an "irrational abstraction" (Karmel 92) (see fig. 18). This process is complex, but Karmel describes Pollock's initial technique being absorbed with the concept of automatism:
starting automatically, almost as a ritual dance…, the graceful rhythms
of his movements seem to determine to a large extent to the way the
paint is applied…he is working toward something objective, something
which in the end may exist independently of himself…(94).
Edward Lucie-Smith adds that Jackson
Pollock's paintings are influenced by Andre Breton's return to
The legend of Jackson Pollock is
romanticized. Unfortunately a friend also dies with himself in his
drunken car accident colliding into a tree in 1956. Lee Krasner, his wife convinces Pollock to move to the country
in
Like Jackson Pollock, Willem de Kooning actively animates the canvas with abstraction, expression, and spontaneity. Yet de Kooning primarily focuses on the ubiquitous female nude and the landscape. These highly gestural, large paintings contain a broad range of brushstrokes and usually vibrant color. He uses washes as well as different thicknesses of paint layers. These intensely abstract jarring images are disturbing and quite controversial. Painted in an Abstract Expressionist manner, his nude figures of distorted women are violent and reminiscent of Picasso's disfigured females (see figs. 21-22). Traditionally Manet’s bare women staring directly at the viewer foreshadowing modernity also come to mind. These extremely colorful pieces evoke an immediate response through their expressive nature. A violent, primitive, and automatic transcendence is evoked. These works do not involve painstaking representational images. Rather these icons reflect quick, vigorous, and gestural experiences with the artist and the viewer. The power of suggestion and "free association" form the relationship with the individual and the collective unconscious. The impact is strong, immediate, and personal. It is definitely emotional and confrontational. It appears that facing or dealing with "Mother Nature" is a constant battle. Several of his females are singular, powerful, images which are war-like with masses of bright red paint below the waist. If I on the other hand painted a disfigured male, being a female artist, I would probably be considered "over-sexed" or a sadistic "Bobbit-woman," of which I am neither. Why do artists obsess over the female nude? What about its male equivalent? After all the "Kritios" boy represents classical and traditional art (see fig. 23). Perhaps de Kooning is commenting on the role of women and relative violent acts of society.
Jackson Pollock's spontaneity and energy is shared with de Kooning. Varnedoe states the artists identify with each other (45). Yet Pollock's works are primarily abstract in nature. Pollock's inclusion of icons in certain pieces are less confrontational and direct than de Kooning's "Woman" series for example. But, Willem de Kooning also has purely abstract works especially towards the end of his career. In general Pollock's art appeals to a more intellectual audience. At first sight one either hates or loves de Kooning's "Woman" paintings. The point is thrown at the viewer and an immediate response is calculated. Unlike Pollock's art, de Kooning's does adhere to Hofmann's "push-and-pull" aesthetic. The edges and brushstrokes dividing planes of various color do create an illusion of proximity and recession on the planar surface. Usually his figures are emphasized. They stand out and scream for attention. By following these traditional tenets especially those outlined by Hans Hofmann, Willem de Kooning's approach is more conventional than Pollock's. De Kooning does not paint on the floor nor does he rid of the paintbrush. In my opinion both artists as well as the art of Lee Krasner best define the meaning of "Abstract Expressionism." The response is immediate, simply from its uniqueness and directness. There is a definite passion for the art and the medium through various "painterly " methods expressed by these artists.
At a glance, artists like Pollock and Clyfford Still may seem polar opposites. On the other hand these painters, like all of the Abstract Expressionists, share a love of painting and embrace similar tenets. Still originates the color-field style of painting (Polcari 91). An innovator like Pollock, Still delves into mythology, "primitivism," and the subconscious in search of "nature," "truth," and transcendence. His Large blocks of color and vigorous brushstrokes do follow Hofmann's "push-and-pull" aesthetic. Its illusive power is influenced by the writings of Read and Jung according to Polcari. Polcari continues that Still is concerned with the individual psyche and how it relates to "group consciousness through the means of mutual regeneration" (116). The artist attempts to portray "his own image and behavior as the human symbol" (116). It seems that he struggles through darkness and focuses on the areas of light that shine through. On the contrary, Katherine Kuh in her book, Clyfford Still stipulates that Still insists that "black was never a color of death or terror," rather it is "warm and generative" (11) (see fig. 24).
Robert Motherwell's art is an excellent example of Hofmann's aesthetic and primitivism and the power of the icon. Harvard Arnason in his book, Robert Motherwell quotes the artist: "The living symbol shapes…formulates an essential unconscious factor" (10). Motherwell is inspired by a funeral elegy for example and transforms his feelings to the canvas (see figs. 25-26). His icons of simple shapes and planes of color are "general metaphors of contrast between life and death" Arnason affirms (10).
Edward Lucie-Smith claims Barnett Newman acts "chiefly as a critic" (229). Although Newman is a member of the AAA, his immense color-field, reductionist paintings are controversial until he gains support from Clement Greenberg (229). His paintings mostly consist of a single color divided into "zips." These "zips" are divisions of slender vertical lines interrupting the pure color presentation (see fig. 27). The "push-and-pull" tenet is not appropriate here. No depth perception is alluded to. Newman simply considers the experience and psychological implications of color (229-230).
Morris Louis like Barnett Newman also strives to "experience" color, yet through oil stains. He is influenced directly by Helen Frankenthaler, Kenneth Noland, Clement Greenberg, and Jackson Pollock. His large stain paintings achieve purity and the elements of water, air, fire, and light are alluded to (see fig. 28). John Elderfield on the back jacket of the book, Morris Louis claims the artist will "think, feel, and conceive almost exclusively in open color." Like Newman and Frankenthaler, Louis appeals to the senses and the subconscious through transcendence and metamorphosis. A "secular spirituality" is evident as well as emotion. There also exists a continuity. Spontaneity is not really an issue. It is sacrificed for a timeless quality. As a contradicting factor, the myriad layers also present cycles of change. Through absorption levels of certain stains, temperature, the state of the canvas, properties of different colors, gravity, and varying saturation rates a delicate balance existing at a particular moment in time is achieved. Nevertheless American Abstract Artists are Abstract Expressionists. Each has a unique style or manner of expression and specific emphasis. But, all embrace the love of painting along with shared theories, themes, and goals of this American movement.
During the late 1950s to the 1970s
many artists react against the tenets and techniques of Abstract
Expressionism. Two of these artists include Robert Rauschenberg and
Jasper Johns. At first labeled “neo-Dada,” the work of these young
contemporaries and comrades soon is known as “Pop” art (Wheeler 125).
This parallels Jackson Pollock being named “the Dripper” before becoming a
legendary artist and a full-fledged Abstract Expressionist. Rauschenberg
and Johns conversely reject the serious nature of Abstract Expressionism “and
of their art as a body of holy objects” (Wheeler 125). Daniel Wheeler in
his text, Art Since Mid-Century: 1945 to the Present quotes a
Jasper Johns becomes known at a young age like Rauschenberg. Johns begins his lucrative painting career at age 28. Not having the traditional art education as Rauschenberg, Johns maintains a competitive edge. His ability to appeal to several types of viewers probably leads to his success. He becomes one of the wealthiest “living” artists. For example his well-known “Flag” and “Target” paintings relate to the intellectual “avant-garde” gallery scene as well the everyday person. His Flag painting of 1955 thoroughly represents Pop art (see fig. 30). This flat national symbol is devoid of Abstract Expressionist emotion. Wheeler quotes Johns’ “logical” and “contradictory” ideas representing “things which are seen and not looked at” (134). The image of the flag which is beautifully painted and textured consisting of underlying layers of collaged fabric, oil, and encaustic is direct, clear, and dull. The systematic brushstrokes including the thick translucent layers of wax recall impressionism. He presents the flag, clearly and simply mocking Abstract Expressionism. It is what it is. Similarly with his Target with Plaster Casts of 1955, Johns presents a target as well as fragments of highly personal body parts fragmented in such a way which is impersonal and rather “as a matter of fact” (see fig. 31). The sculptural inclusions of the body parts in this piece are as meaningful or actually as metaphoric as the target itself. There is no illusion. No transformation or transcendence is expected. The statement is made and it is quite simple. Johns is not asking what is art such as Marcel Duchamp does with his Fountain of 1917 (see fig. 32). But specifically Johns probes, what is this symbol? There is nothing to read between the lines in other words. Johns is direct and categorical, yet humorous taking everyday parts of life and visually placing them out of context. It is what it is at face value. Thus, artists like Johns, Rauschenberg, and various others like John Cage develop this reactionary movement, Pop art. They seem to say that not every piece of artwork is profound or cosmogonic. Pop artists claim this mere notion is ridiculous.
I think the methods and goals
of the Abstract Expressionists are commendable during times of upheaval and
reconstruction after 1945. The collective unconscious as well as the
individual spirit needs to be uplifted and inspired for confidence and unity to
be achieved on a national level. Never before has the
Specifically my work embraces certain aspects of Abstract Expressionism. Spontaneity and the innate subconscious abilities of the artist are important to me. Several of my paintings appear to be aerial views of water, land and/or the universe. Yet, they are abstract in nature (see figs. 34-36). Contrary to Abstract Expressionism many of my pieces contain "realistic" elements. For example my tribute painting to JFK Jr., his wife, and her sister incorporates the American flag subset in a circular lense-like focal point (see fig. 37). The symbol is illusively, vibrantly, and traditionally painted in oil with shadow, perspective, and in a "painterly" manner. The multi-layered, stained background establishes an emotionally turbulent and thoroughly Abstract Expressionist immediacy and content. Although this commemorative piece depicts the representational rendering of the flag, this singular, confrontational, and centralized image incorporates the "vocabulary" of Abstract Expressionism. This icon is animated and intensified by the highly charged "illusory" thrusts of "waves." Pure energy transforms this painting through process and subject matter. A metaphoric commemoration is collectively and individually intended. But like most of my art, this piece in particular reflects a pre-meditated, controlled painting in its structure and style. This is precisely how my art differs from Abstract Expressionism. I am concerned with the unconscious yet it is combined technically and aesthetically with a further and deeper exploration in a conscious state, choosing a preferred, desired effect. But, my art always includes elements of surprise and the unknown. However, I do not reject representational "tendencies" unlike Pollock. I focus these somewhat innate preferences and ideas schematically in accordance with my individual plan.
Conclusively my art captures the spirit of the movement and reflects a passion for painting. Yet it also borders representation. I agree with Pop artist philosophy considering the ludicrous notion of creating cosmogonically significant pieces every time. But my paintings are devoid of Pop characteristics. In my opinion, not all art has to deal with serious subject matter. I believe in painting in such a way which portrays varying degrees of universal and personal impact. Generally science, the environment, and today's news inspire my works. Yet, essentially my art continues to uphold the goals of the Abstract Expressionists. The saga of the movement lives on. Stephen Polcari closes his chapter, "Propaedeutics: The Intellectual Roots" of Abstract Expressionism with these words:
In any national disaster, public and private leaders must
identify with national grief. They must begin the public
mourning and heal the hurt, but also confine and direct
it lest it evolve into a sense of defeat and despair. They
have a responsibility to share emotion but also to chan-
nel and shape it and ultimately transform it into a posi-
tive force. After an economic disaster, and assassination,
an attack and plunge into war, exploded spacecraft,
leaders must not only document, analyze, and come to
terms with the causes and place of events, but also re-
establish purpose, confidence, and a sense of destiny for
the society as a whole….The public spirit must be delib-
erately engaged (55-6).
III. AESTHETIC
The themes incorporated into my paintings reflect the cyclical nature and spirit of Abstract Expressionism. Destruction and rebirth concern my acrylic-stained works. Yet my art borders abstraction and "reality." Extremes, the forces of nature, and the elements provide the basis for my art. My ambition tests and confronts varying degrees of "representation" and abstraction. I explore both ends of these poles as well as the areas in-between in an individual fashion. One must confront the extremes of this synthesis. In theory this is a simple and straightforward approach. Contrarily, the finished piece represents a highly complex "pictorial space." Generally what is involved in completing a painting of such scale attempting to "aesthetically" combine conscious techniques and planning with spontaneous experience is quite difficult. The myriad layers of both controlled flows of paint and haphazard gestural applications form a unique product. This creation is specific to space and time. The ultimate experience is intensely active and physically exhausting, but invigorating. For me it is emotional and personal as well as cerebral. The love of painting is constant and guides me through artistic cycles.
It is the unknown which stimulates and inspires my art. Contradictions investigating and probing natural forms, atmospheric environments in the universe, on earth, socially, politically, internally, or what is on the news, captivate my artistic endeavors. I strive to relate such concerns to the canvas. Thematically these natural cycles and forces involve unpredictability and inevitability. The unknown is challenging to paint since its existence is not definite nor static. Why do certain events occur? What is the driving force behind them? Why does it rain when it is "supposed to hail?" Some questions are not meant to be answered. Yet they remain. Such conditions are specific and the time which affects these limiting factors is essential. One can only assume or hypothesize as to what really happens or what precisely prompts a particular reaction. It is exactly these conditions which exist during the course of a painting. In other words, the amount and consistency of the liquid medium along with the control of the application prompts an expected result. Yet there is always the element of surprise in the reaction of final color absorption and interference with colors already on the surface. If I attempt to “copy” or duplicate one of my works on canvas the outcome will be very close to the original, yet an exact replica is impossible. The time and energy involved in the thrust of the application and its precise consistency are not easily recorded. The stretched canvas having specific edges "sets" the stage for this "drama" to begin. The colors and created atmospheres parallel different actors playing a well-known play. No play is ever the same nor is each night the same play is given. Conditions and time are specific and therefore variable. My art is not theatrically Baroque in nature. Yet it does have representational aspects. My pieces or my "worlds" exist within the parameters and boundaries of the stretched cotton surface.
Cycles both regenerative and diseased or explosively terminating are reproduced. I think these underlying motifs are innate and subconscious. I do not believe there is one painting of mine which could be considered "static" or timeless. There is an energy or sense of movement associating with a definite lapse of time. This is visually demonstrated through the layering process of color variations, juxtapositions, formations, and gestural application. The perspective in which I approach this pictorial space technically and conceptually appropriates Abstract Expressionism.
I adapt certain aspects of this art historical movement yet discard others. I adopt the essence of Abstract Expressionism to the twenty first century and synthesize it with aspects of "Realism" and my conceptions of modernity. These subconscious elements which are usually organic in formation, are superceded by those that are formal and controlled. Yet there is always the element of surprise, spontaneity, and therefore “purity” and expression. This in turn is characteristic of the work of Jackson Pollock, Morris Louis, Helen Frankenthaler, and many other Abstract Expressionists. Appropriation and adaptation of accepted styles, themes, and tenets consequentially absorb my thoughts. The visual space and its psychological implications associated with the overall design, form, theme, content, color, and style encompass a dichotomy. In other words a sense of chaos and structure or reason establish a distinct balance in my paintings. These motifs are continually at battle and display patterns and stages which act as a microcosm of a much larger cyclical existence, life itself. This often is accomplished unconsciously. I think "automatically" I tend to produce paintings with a high degree of tension and drama. Natural forces of various light and dark layers create contrast and tension through varying directions of gestural applications and in a multitude of other ways. Random converging layers also confront "other elements." Hand painted (using a brush) geometric or representational rendering or inclusion of icons establish the “other elements” and successfully complement or counter areas of expressive abstraction. These formal areas usually imply the power of man, society, and technology. Introducing and interweaving these "other" or opposing components synthesize "reality" with Abstract Expressionism in neither a "Pop" nor "Dada" manner. My goal is to leave the viewer confused and hesitant to label or categorize my art. I intend for the viewer to read between the lines. I attempt to leave my style, technique, and aesthetic “unknown” and open to interpretation. Several of my ideas are understated and evoked through expression. Yet a "total effect" is usually desired. The consecutive layers of paint consequentially allude to multi-dimensional meanings metaphorically.
I sometimes directly influence the onlooker's perception through the title or placement of form. Without the title to my piece, The Search: JFK Jr. and Sisters of 1999, for example one perceives the American flag lying centrally, amid the thrashing waves (see fig. 37). It demands attention through size, color, style, and composition. There is no allusion to JFK Jr. except metaphorically and symbolically. In other words I do not write his name on the flag contrary to how Andy Warhol handles his subjects preferring commercial labels, repetition and redundancy. Even though the specific information is supplied in this case regarding the subject, at this point it is not known whether these figures have survived. The search continues and the flag is attributed to this legendary hero, his wife and her sister. The precise conditions causing the end result persist. However, the facts indicate that weather conditions most likely cause this accident. Few really know how it feels to constantly be scrutinized by the public eye like JFK Jr. and the Kennedy family. This man is respectfully, an all-American hero. He literally and in this case visually transcends the two-dimensional picture plane of the canvas. This circular icon enclosing the flag reinforces this spiritual and cyclical longevity. What is it like to have almost no privacy? One can not help but wonder. The saga lives on.
Abstraction and “reality” are not so separate. I enjoy taking natural forms out of their environment like a cloud front from a landscape or sand ripples from a seascape for example. By cropping these shapes immensely while neglecting the ground or any sense of perspective one can study how the change of proportion alters the meaning as well as the form’s appearance. A hubcap for example is not recognizable if enlarged enough. This of course is not a natural object but my point is a little more comprehensible. The fact remains that the hubcap is still a hubcap after the image is “abstracted.” My Wave painting of 2000 for example borders abstraction and representation in a similar manner (see fig. 38). Yet, I do not include rendered or geometric forms. The splashed on paint layers evoke or allude to waves. On the other hand could this pass for a "realistic" version of a satellite image of the ocean and the surrounding atmosphere? I believe that this is controversial but not exactly representational. This painting demonstrates interpretative "realistic" tendencies which Jackson Pollock feverishly strives to avoid. It is highly expressive in nature and begins with a process almost embracing automatism. I start with the color blue. When I choose this color I am already thinking of the ocean. Thus, I really begin with a concept. I suggest wave-like motion through the gesture of the initial water-based stain. I control the flow of the paint.
However several other of my paintings I create with no preconceptions and like Pollock I embrace "automatism" subconsciously and technically. I begin with a random color and shape. I allow the first layers of stain to visually stimulate my artistic license and intuitions. The painting begins from this point adapting shape and meaning according to basic form, color, and juxtaposition on the planar surface. This process involves associative memory perception and the subconscious. As the painting takes shape I plan and formulate the remaining piece. I consciously decide what to do next. What color will I choose? The real question is, what does this “pictorial space” remind me of? Or more specifically, what can I turn this painting into? What element does it conjure?
Although I explain why the concept of automatism is not pertinent regarding my Wave painting, intuition and the subconscious are expressed. In this case my methods and intentions are directed. I am not rendering. Where I place certain layers is highly subconscious as well as consciously directed. It is controversial whether an image has a closer relation to process of memory rather than the word. My memory of the ocean and its physicality or "essence" is evoked through this experience. Forces of gravity, temperature, light, absorption, are technically and aesthetically animating the surface. Contradictorily I am aware of these forces inhabiting spaces on this picture plane, but I am not dwelling on these factors. The painting flows and is formed quickly primarily consisting of relatively short intervals applying "wet on wet." Yet I halt this process only to guide the acrylic flow's ultimate direction and absorption to the raw canvas. I position this prestretched canvas at an angle against buckets and let gravity and air circulation take over (at times applying a fan). A couple of times I wait a few days for the drying time due to thicker layers. Nevertheless, I am dealing with the forces at hand creating tension with the addition of every layer. Thus, my innate interests are visually identified. I can not escape the extremeties. The elements and forces of nature never cease to intrigue me. The Wave painting for example is produced without boundaries. Similar to several of Jackson Pollock's works, the borders of the canvas are consciously ignored and insignificant. This is simply a glimpse of what lies beyond like a "window" to a computer screen or a frame to a window. This is a contradiction in terms. The borders are both important and unimportant. Ornate frames are not part of Jackson Pollock's paintings. Neither does he focus on the borders nor is he preoccupied with illusionism or traditional perspective. He allows the paint layers to continue off the planar surface and confronts the psychology of the subconscious and "nature" as well as other tenets of the movement. I agree with Pollock to a certain extent. I paint the sides of my paintings which are two inches deep. I also let my paint layers flow off the edges of the surface. I do consider the edges important to the overall design, but it is held secondary to the "feeling" and evocation of the subject. The painting like Pollock's achieves totality and stands on its own as a finished piece. It represents a unique space and time.
The cycles which incorporate my art also encompass an elemental series. My large unprimed canvases can be divided into one of four "systemic" groups: atmospheric (including outer space), oceanic, geographic or earth-like, and fiery or molten. Renewal and destruction are a part of these neverending processes. The drawings I work on usually confront design and compositional issues. Approximately a third through the painting process I begin sketching. I complete several versions and decipher which one is most effective to apply to the canvas. I do not always do this since it curbs the entire spontaneous, expressive, and somewhat temporal experience. Yet, my art is not all about Abstract Expressionism. The "other" components besides the gestural and spontaneous paint applications, must be planned and their overall effect should be considered. The inclusion of geometric forms, icons, and/or realism in the stained pieces should balance the composition. I have come to employ these formal elements to all of my paintings. Even if the painting does not contain icons or geometry, I always consciously emphasize specific areas using a paintbrush towards completion. This strengthens and unifies the work of art. Other drawings which are not used as tools for painting investigations, I boldly study basic formations and their relation to the negative space using little color. The paintings of Robert Motherwell, Adolf Gottlieb, and Franz Kline set precedents for my drawing series and spatial studies. It is beneficial for me to perform these exercises concerning spatial relation to form since my paintings are complex and contain a multitude of forms which are rich in detail and layering. If one squints, basic contrasting shapes become evident. Density becomes obscure and singular abstract forms dominate the pictorial space. At times several of these shapes are similar to Chinese lettering or calligraphic form in general.
I discover similar aesthetics concerning the planar surface in my Inferno painting of 1999 (see fig. 39). This painting distinctly demonstrates the Abstract Expressionist extreme. Yet "representation" is not thoroughly discarded due to its allusive power of association. In addition my initial dialogue with this painting is contradictory and somewhat backward. This is due to what is in the foreground and the background. I actually begin with the foreground area of a mixed media concoction of black paint which consists of sand, latex, and acrylic ingredients with no water added. It is a thick and heavy foreground application, but it illusively appears to have been added at the end of the painting. This is not the case. Like Jackson Pollock I have an affinity for the color black. This color structurally frames Inferno. Therefore this brakes one of my personal tenets concerning the borders of the canvas which I establish earlier in this exam. Thus this forms yet another contradiction. But, I do not think the "art police" will arrest me. This is why it is difficult to discuss and categorize artwork. Every artist has a somewhat diverse vocabulary within one's style. It is highly subjective and does not have to be "logical." A piece is only considered "valuable" if an influential and reputable critic deems it so within the proper elite circle.
However, I must not deviate further and return to the initial black framing device of Inferno. I then choose my palette according to how these black forms relate to my mood and subconscious. I decide upon red and gold since I visualize a volcanic, fiery source. I do not know where this association comes from at the time, but it is what drives me to its completion. My innate sensibilities surround the extremeties of cyclical renewal and rebirth. The natural forces and themes embracing Abstract Expressionism are constituted once again. Next, I create the background space. The bright red contrasts and forms a silhouette with the ominous black formations looming in the foreground below. This pulls the foreground and background illusively closer to the viewer in this area thereby employing Hofmann's Abstract Expressionist tenet (which is comprehensively described in the art historical exam as well as the historic precedents and artistic processes of specific artists which ultimately affect my art). The upper golden portion of the canvas is cooler and recedes further into the background beyond the overhanging blackness. The middle ground area recedes into the deepest space on the canvas near its center where portions of the raw canvas show through the lighter painted washes.
Initially automatism is employed to certain degree since I choose this framing device after a couple of black formations are added near the edge of surface. I also adopt this concept after deciding the colors for the middle and background spaces. Yet, this is not entirely the scenario since I consciously avoid the edges of the black painted shapes. Towards the final stages of this piece, I carefully hand paint these edges where the foreground meets the background in order to achieve clarity and maintain a sharp, effective image. Therefore these formal aspects of sharp edges and the dark framing device alluding to perspective and illusion, counter the highly Abstract Expressionist gestural and chaotic areas. This cave-like piece reminds me of hot magma and black molten rock below the surface. This painting relates feelings and expressions of an idea formed by "free-association" and memory. This is intertwined with more formal, conscious spatial explorations. Thus, Inferno does not cross my synthesized, established boundaries concerning my artwork. However, it definitely comes close to exhibiting the Abstract Expressionist extreme.
My Recycle painting of 2000 is the final work I will discuss (see fig. 40). Within these pictorial parameters this piece is exemplary of yet another series besides those involving the four elements. It is one of several paintings which contain my circular, iconic motif. Ironically the circular icon has a timeless quality which naturally opposes the temporal characteristics of the raw, acrylic stained canvas. This photograph of my painting depicts the piece just before completion. Yet the photo is close enough to the final product in order for discussion. Recycle is pre-constructed and preconceived in accordance with a series of sketches. This is true with most of my artwork. Usually I begin with an idea or total plan which may change during the course of the painting depending upon how specific the subject matter is. Control and planning devices dominate my methods, thereby focusing and directing my subconscious tendencies. In other words, unlike Pollock, I do not reject representational tendencies. I strive to relate all of the painting’s components or aspects to my particular theme and/or plan. My paintings are not all alike. However, they are stylistically unified.
Conversely, Recycle evolves in a slightly different direction from the drawing. In the JFK Jr. painting I do not alter my initial decisions created in my planned sketches. But, I allow myself to deviate from the palette and background areas in Recycle, adding to its temporal existence. This painting is intended to be atmospheric in nature and concern outer space. The idea that stars and the universe recycle themselves are on my mind. This piece like all of my works exudes with energy. The creation of space concerning the picture plane dynamically recedes and extends towards the viewer. Hofmann's "push-and-pull" aesthetic is revisited. The consecutive layers of paint are subsets of larger dimensional movements of form which specify dimensions unique to space and time. Recycle contains the thickest layers of undiluted paint I ever add to a canvas. Consequentially, this work is extraordinarily heavy compared to my other paintings. My Pollution painting with the plastic birds runs a close second (see figs. 8-8a). These recent works demonstrate my ability to become less inhibited and bolder technically as well as aesthetically. Recycle's concept is metaphoric and thoroughly reflective of the cyclical nature of Abstract Expressionism. The animated design of high tension explosively emanates from the surface ironically with