Here's how I set it up—controls: slap it on, let it stick; variables: everything else.
Here's how it has played out so far:
• the inner turmoil I'd been feeling for weeks has taken leave of me for a good week now;
• on most days I have not worked in short quick bursts; on a few days I have;
• I have stumbled into generating a series that totally engages me;
• in that series I notice the interplay of two phases—an initial intuitive unfettered slap onto paper of paint, texture, pattern, and line and the subsequent detail-oriented resolving of ongoing challenging visual puzzles that emerge;
• I do catch myself fussing and getting detrimentally precious but can often tap into my self-designed guiding principles to slap something into place rather than fuss and to let it stick rather than get precious;
• until I forget again.
Onwards and sideways.
|A Twenty-Foot Wooden Crate of Fifty-Cent Sweaters|
4x5"; acrylic, grease pencil, and collage on paper,
mounted on card stock