Title
Nine
Artist
Margaret Love Bennett MFA
Medium
Painting - Oil And Graphite On Stonehenge
Description
The unconscious, intrinsic language of the soul is rooted in geometry. Intuitive thoughts and feelings follow networks that illuminate or designate connections. The physical image is a translation of this ethereal narrative. How can we begin to decipher the code made visible by this creative process? This code is devised through actions that are immediate and unpremeditated just as the actions are also grounded in the historical imprints of the soul's experiences. The actions here are the artist's movements and reflections that create each mark, shape, and hue. Are these experiences from this life, or are they ancestral - or part of another paradigm of existence? What tense do these imprints define? How can the image that results be anything other than a sacred record of something that may never be describable again in the same way? Life is only truly lived in the present moment. Do these marks become an historical record, or are they a false imprint since the present cannot be contained? Do the moments that pass or come before and after create the channels for the marks to correlate in precisely this way? Pollock focused on the instant of creation of the image. Kandinsky wrote about the spiritual connection between artist and image (as did other abstract expressionists). For me, the process is highly personal because each mark is either a response or a reaction. The thoughts flow from empirical understanding while the resulting mark follows intuitive release that is more often than not self-conscious. How can what we witness as a composition make sense from only one perspective or interpretation? Parts+parts=whole, but the resulting whole is an other paradigm. The system is more than its parts. The final narrative is more than the simple sum of its parts.
Uploaded
September 27th, 2020
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