Details of two works in progress (11.25.20)
It's a great feeling to follow through on giving old ideas new life. In this case, I'm referring to works from 2013, like A Hazy Reverie and Channel (the former (the former is in a private collection, while the latter is in a corporate collection. I mention those paintings because at that time, the overlapping hard-edged forms felt like something I could explore, but at the same time, I felt like there was something limiting about that work. The problem is that in the making of that particular body of paintings, I'd already started to move on to newer ideas in my head. So, I did just that.
The thing is, there was something about that series that stayed with me: a vertical diptych titled, Everything Happens At Once (seen above, currently in a private collection). It's a black and white piece, composed of two 36" x 48" panels. It was the most successful of the group, I think, because of the sense of movement and I kept it relatively simple compared to other works in the group. It also felt the most accomplished, the one that was the most daring of my 2013 works, aside from We Dance to Pray, the 13 foot wide piece that I painted on the wall during my show, Presence.
Flash forward to now and I've once again found a space and time to consider some of those older ideas in a new light. I stopped making those paintings because I'd done about 14-15 in 2012-13 that were of the same concept and I wasn't sure that I wanted to continue with those ideas just then. Once the show happened, I no longer felt that I wanted to continue along that same road and, as is my habit, I started anew. Recently, I had an opportunity to have my work presented for consideration for a commission. The work that had a good response was a piece from 2013 that had sold already. To remedy that, I made a new, smaller painting that had some of the same attributes. I don't usually like attempting to make something that was of an older concept, but for some reason, I jumped at the chance to do this painting. Thinking about it, I realized that I'd still held onto some of those ideas, hoping to explore them again, which is what I'm doing now.
Since 2013, my work has changed and gone off on some interesting routes, but now I'm happy to have two distinct bodies of work to pursue that offer different challenges and interest for me. The glyph works of the past three years has been great in terms of moving my work into uncharted territory, where every step is a journey unto itself. This work is very experimental. The new iterations of concepts from 2012-13 are very different in terms of how they are approached and executed. There's already a conceptual template with this work that doesn't exist with the glyph pieces. However, that template doesn't make the new work any less challenging. There's just differences in thought and process between the two ideas.
TM
