Tuesday, July 24, 2012


I always wonder what happens to an artist's genius once he/she is recognized, pinned down to a style, and is forced to create within it for years and years or prosperous recognition. Does the drive to create overpower the boredom of style? Or can one always find challenges even when the themes are seemingly trite and overused? Or when a commission is ordered - how much of it should be dictated by a client vs. the artist's own freedom to end the piece when it has nothing more to say? I feel like the hardest thing sometimes is staying true to self and not simply appeasing the masses.  It is so easy to ruin the piece by overworking it, or to suddenly realize that you have nothing more to add but are expected to achieve so much more. Of if a style simply isn't yours and what you truly wish to do gets sidelined by what what pays the bills. It isn't easy to find your voice with so many other voices asking you to compromise. I guess a sign of a true genius is the ability to stand his ground despite criticism and expectations.

Sunday, July 15, 2012

The fascination with Cezanne

Honestly, I don't get it. His figures are abominable. His landscape palette is very boring and bland. Probably the only thing that I actually enjoy are his apples. Truly, either I'm missing the point or the whole art world has gone mad. Yes, he broke down the landscape into sections or cubes, but didn't Monet do a much better job with breaking it down into color fields? Maybe it's just my own sensibility to color that is preventing me from appreciating his contribution in terms of line. But then I value Picasso's jagged line and Dali's careful draftsmanship and find Cezanne simply primitive and secondary.

Saturday, July 14, 2012

Color relationships

The other day a good friend and collector was telling me about a show he saw at MOMA in New York by an artist who worked on 20 landscapes at a time with one color. He seemed baffled by the complexity of the idea of placing a color so boldly without the rest of the painting figured out. To me, it seems like a completely opposite phenomenon and an excellent exercize. Our whole world of perception is about our reading of color relationships. It makes it that much easier to start from an abstract color field and play with how another color will effect its impact. Yes, the idea might be daunting if one doesn't feel his/her palette. However, an artist overtime comes to undesrtand his inner color wheel and should be able to apply it in either an abstract or representational format.

Wednesday, July 11, 2012

Introduction to why I paint

Our life very quickly passes us by and we're too busy to notice. It's a stunning time of year now with all kinds of flowers blooming, temperature of the water as pleasant as in a bath, birds chirping away. Yet, to find even a minute to stop and contemplate, let alone record this feeling of bliss is so difficult. It's like we don't allow ourselves to ever relax, even when there is free time. Everyday worries are always there - how long till mealtime, when do the children need their nap, is there anything work-related that I urgently need to accomplish? Why is it so hard to not feel guilty about simply enjoying nature? I think I'm only able to relax and understand its grandeur when I paint. That is why I'd like to devote this blog to painting nature in all its transient glory.