Category: Blog

I spent part of last week in Boston, visiting a good friend going to Grad School for painting at the School of the Museum of Fine Arts.  It was a return to art school for me.  I got to sit in on critiques, attend a lecture, and tour studios.  I got to meet, talk, and party with a group of really exceptional artists.  I also had the opportunity to view thesis exhibitions and get a sense for what is coming out of East Coast art right now.

In addition, I was fortunate enough to spend a few days hanging out at the Museum of Fine Art, where I saw an array of works.  Some of the most memorable artists include Gauguin, Giacometti, Monet, Luis Melendez, and Kara Walker.  I toured the current Egyptian artifact exhibitions where I learned about tombs and mummies.  The entire trip was both educational and inspirational.

Image: Monet paintings seen at the MFA

I am currently reading The Art Instinct by Denis Dutton.  When I saw this book on the shelf, I knew I had to read it, as it applies to many of my current ideologies.  However, I was also skeptical.  I thought it likely that the book would be a collection of badly described theories.  I anticipated a preachy text describing the innate human appreciation of beauty.  I have to say, now being about half way through, that so far I have been pleasantly surprised.  Dutton’s arguments are sound in most cases.  He uses examples of science and history, as well as extensive thought experiments, to describe the jump humans make is aesthetic pleasure.  It is not preachy, or sided in any art form.  It is actually a very comprehensive discussion.  Dutton had caused me to consider aspects of human life in relation to our appreciation of aesthetic that I would have never before considered.  I also must say quite honestly that in parts the reading is dense.  However, this book is worth a second read.

My recent work provides me with an entirely new outlet for my obsessions. I feel that I often treat my art not as a grand statement, or a refined image, but rather as a series of experiments. I am seduced by the endless possibilities of what can form on a two dimensional surface. This is what propels me forward. Therefore, I have little patience for laboring over large precious canvases and carving out detailed images. One thing that I constantly struggle with is the balance between abstraction and representation, as well as spontaneity and control. This new body of work, the “Chromascapes” deals with these issues in ways I previously have not.

My subject matter has always used the natural world as a primary source of inspiration, whether that be through abstract biological forms, landscapes, trees, or patterns. Nature remains the subject of the Chromascape Series, though less directly. While I have included my pastels under the the umbrella of the Chromascape Series, I handle them very differently. For right now, I am merely speaking of the acrylic paintings. The paintings all feel like landscapes to some extent. The primary reason for this is that almost all the paintings of this series have a horizontal line or break in them that creates the sense of the horizon. One question I must ask myself, and ask the viewer, is whether these would still be landscapes without it. Obviously, I embrace the use of landscape through my titling, “Chromascape” which represents the idea of a color landscape. These are works of color, with color being the primary subject and landscape a secondary one.

Nature is also addressed in the methodology of these works. Water, in a sense, does the painting. I pool large amount of water on the surface of the paintings. I use pouring methods, and minimal brushwork, to push paint through the water. Environmental factors in the room, on the surface of the table, and in the paint itself, control most of the major directions. I make minor adjustments, by dragging a pool of water in one direction, or angling the canvas. The ways the colors mix, bind, and dance around each other, however, remains mostly out of my control. I suppose I consider this a collaboration between myself and the water.

The process is difficult for me, it is a leap. Many contemporary artists have used similar art making processes, and I have often seen it to be a gimmick. Despite my reservations, I have come to this process naturally, after years of painting practice and I see it as the next logical direction for my work to take. Rather than try to make these into something they are not, I want to simply understand the process, method, and concept I am bringing to these works. They are color, water, movement, chance. They are what I believe the universe to be. I think it is important that they are landscapes, because the landscape ties them to our worldly experience, it brings them home to our day to day lives. The landscape is an image we can relate to and through it I hope we can appreciate the explosion of potential behind it.

I am currently reading (or trying to read) “A Theory of Art” by Stephen David Ross.  Ross is a philosopher, and has written about a number of topics, including aesthetics, morality, science, and culture.  This book focuses exclusively on Ross’s theory of contrast.  Ross argues that all other theories and artistic movements are incomplete.  Contrast is what he measures, weighs, and validates art by.  I would take this to be a given, but he creates a very phenomenological picture, which I find interesting.  The contrasts in art, for Ross, have degrees of complexity that can be read as layers within a work itself but also include history, knowledge, environment, etc.  Ross argues for knowledge, and for the discussions art evokes.

“If artistic value is intensity of contrast, what is important is how the contrasts function and gain intensity.  The capacity of contrasts to promote higher levels and richer complexities  is the primary feature of our understanding of art….” (Ross,11)

“A Theory of Art” was published by the State University of New York in 1982

Stephen David Ross, born in 1935, is currently a Professor of Philosophy at Binghamton University in New York.

I had been titling my recent works “freescapes” which I think was always a stand-in title, so today I gave it some thought.  Sticking with the “scapes” thing was worrisome to me, coming out of my forestscape works, but these recent works are not a huge departure.  I wanted to be honest to what they are, without overloading them with clever titles.  So they are now the “Chromascape Series”.  They are landscapes of color, handled intuitively.  An official artist statement coming soon.

I would also like to take this opportunity to note that I am taking a bit of a break from exhibiting.  This is intentional.  I may still be doing a few things, but I am pulling back for a while.  I want to focus on this new body of work with a clear, honest attitude that is not complicated by thoughts of business, sales, and exhibition.   I want to focus on pure art making for a while.  I began to feel a little too much like I was manufacturing for shows and sales.  This is a time of reflection, focus, and studio work.  So, if my calender looks bleak for the next 6 months or so, that is why.

One issue that has been consistently problematic for me in my work has been the distinction between macro and micro in my more abstract pieces. The question is: are we looking at something from very far away, or up close? Is it a galaxy, landscape, or cells under a microscope? In organic abstraction, many of these things can look very much the same. I think this is very telling of the creation of matter and life. None the less, as an artist, is the ambiguity acceptable? I think it is a cop-out to “let the view see what they want”. I think artists use this as a lazy excuse to not take responsibility for an image’s interpretations. Yet, I also do not know if I want to decide. I have made enough new works now in this most recent series where I can step back and begin to see problems in the group. I did this today. The first this I noticed was that some read is macro, and some read as micro. I realized that I have to consider this in going forward.

One thing that strikes me at interesting is the very subtle differences that make a work macro or micro. All it really takes is a subtle horizontal line and you have an instant landscape. Similarly, a few small random circles and bubbles can become primordial soup. Verticals are easily trees. But abstraction is a slippery slope, where you either embrace the conventional wisdom, or challenge it. I guess I have to challenge it, and while I am not sure how I will do this yet, I am sure that in the process I will have to be aware of such factors. This also means being more aware of what I am abstracting. I have intended my works to be read as organic abstractions based on landscapes, but I think I need to be more specific about what that means and where the viewer is in relation to it. I know part of this argument will become one about size. They have to be bigger, I know.  What I have never liked about size is the loss of intimacy. I struggle with giving these images the power of being environments rather then objects.

“A conceptual work- one which followed completely a predetermined course of design-as happens in the fields of design, belongs essentially to theory and critism and not to art as such…”

-Jack Tworkov  (excerpt from a 1968 journal as printed by Art in America book review Dec. 2009)

Jack Tworkov (1900-1982) was one of the founders of abstract expressionism in America, working with such great artists as Willem de Kooning and Jackson Pollock.  “The Writngs of Jack Tworkov: The Extreme of the Middle” was recently published by Yale University Press, and I look forward to reading it.

I am continuing to create new work in this more freestyle, abstract format.  I think that this series of work will have much more evolving to do.  Maybe I am a control freak, but I sense that the current process leaves much room for additonal intention and specific manipulation.  It is an exciting starting point for me, and I enjoy the things that are happening, but feel it is not fully embraced process yet.  I want the palette to become a bit more limited, and the forms a bit more controlled, but not too controlled!  As always, I am looking for a deilcate balance in the creative process.  I think there is much to be said for letting the work create itself, but I also believe that the artist needs be an active, conscious participant every step of the way.

I have started what I believe will become a new body of work for me.  It is a return to the colorful abstract landscapes, but with new tools.  I am focusing on watered down acrylics, in wet, thin layers.  I am using this application technique to interpret the colors and shapes of landscapes, trees, foliage, etc.  I am sure I will have more to say about this as the work progresses and its direction becomes more clear, but for now it is simply the thrill of a new adventure, like beginning a new relationship.  The possibilities are enticing.

The season of festivals is drawing to a close.  It unfortunately ended in a whimper, with Madison being a bit of a disappointment.  None the less, any exposure is better than no exposure.  Now I expect to retreat to my studio cave for a little while.  I have some fresh ideas to get underway and a new job to be acquainted with.  I will be participating in  a small drawing show at the Hide House on Dec. 11th, Other then that, I have no major shows scheduled right now and expect to be focusing on pure art makings.  Hooray!

The piece shown is a recent chalk pastel, completed today.

I had forgotten how incredible fall could be.   I did not spend as much time in my studio as I had planned, because I was distracted by what was probably the last nice day of autumn.  I walked around Humboldt Park for a while.I was reminded of how much I cherish color, and how pure color has the power to affect a person deeply.  It is like hitting the perfect note in a song.  I do not consider myself a spiritual person, nor do I consider my work spiritual.  But I realized yesterday that if it is visions such as these that inspire my paintings, there is no avoiding a spiritual experience.  Whether that experience or not is real or purposeful beyond our experience does not matter, because it still makes us what and who we are.  I took many pictures and look forward to working from them in making paintings and drawing in the next few months.

This has been my first week really back in the studio after weeks off while I was getting married and going on my honeymoon.  It was a blast, but it feels good to be resuming my work.  I am starting slowly with some drawing.  This drawing was done over the course of two days and is oncardboard , with an acrylic foundation.  I used charcoal and pastel on top of the acrylic.  I like the texture and solid surface it creates, as well as the additional contrast.  Otherwise, it is much like my other drawings.

I am also kicking off being back by having an open studiotomorrow night for Milwaukee’s Gallery Night.  For details, see my calender.  I have a lot of work up, both new and old.   It has been a reflective process for me because I can see how much my newer work differs from my older work.  Yet, I think thematically they speak to eachother, so having everything hanging together is a little chaotic, but a good chaos.  Anyway, it will be fun and casual, I would just like to welcome visitors, friends, anyone who wants to check out the space.  I will have information about classes available as well.  I am looking forward to it!

I have recently been looking at the watercolors of artist Keith Crown.  The book, by Sheldon Reich, explores the history of Crown’s work.  Crown was born in 1918 and attended the Art Institute of Chicago.  He has had a long and productive career as an artist and is influenced greatly by the Midwest landscape.  Crown also spent some time in New Mexico, which can be seen as having a profound effect on his imagery as well.  I am drawn to his simplistic use of shapes and lines.  Crown adopts a few recognizable stylizations to describe things like texture and pattern.

When looking at a thirty year span of work it becomes apparent how important the development of an individual visual language is to an artists body of work.  His watercolors are sharp and colorful abstractions of rolling plains, roads, and tree lines, and rock formations.  Most of the color plates in the book focus on his watercolors done in the 60’s, 70’s, and 80’s. I have just come upon this book, and have not explored it in depth yet, but found the images beautiful and honest in describing the world around us.

Image: Keth Crown “Storm Over Ranchos”, 1969

I spent a quiet afternoon in my studio doing simple, small watercolors.  These are a place for me to figure out where I go from here.  As usual, I have several different ideas and directions pulling at me from once, so these types of small intimate experiments are for me to remember what most excites me about what I do.  When I reconnect with that simple truth, the work itself is always more honest and more interesting.  I do not know if I found any answers today, but I always enjoy the process.

This was loosely referenced and mostly imagined.  I used watercolor paper with acrylic paints.  I usually despise acrylics, but when treated like watercolor they can be really subtle, especially on a small scale.  I plan on doing more acrylics like this, it felt really good.  I was reminded why I paint.  There is design, but also a feeling I sometimes struggle to achieve in my work.  This one is personal, and I am not sure entirely why.

I stumbled across this artist and just had to comment. Artist Tim Knowles makes drawings and paintings that remove the artist’s hand.  Using a variety of objects or circumstances, like cars, balloons, and trees, Knowles has the universe make art for him.  I was drawn to the tree series, in particular.  I was not clear on whether the tree branch itself is dipped in paint or ink, or if a brush is attached to the tree.  The implications for both would be very different.  Either way, the tree is given mark making abilities and is set up with an easel in front of it.  It is then left to blow in the wind, recording the natural movements of the limb over time.  I appreciate and respect this concept.  I think that the works resulting would likely be aesthetically interesting, and with knowledge of their origin, they become deeper still.

As an artist, though, I struggle to understand the benefit of such a work.  Once the idea has passed, the execution seems irrelevant.  The idea is usually better than the work.  Also, this kind of thing can easily become gimmicky and over processed.  it has already become a category of its own in contemporary art.  Finally, (and this a a personal reaction), I need the physical, tangible, sculptural experience of shaping and making with my hands.   An idea along doesn’t get me fired up the way making something physically does.  Again, I am intrigued by this work, but do not see how this art sustains itself beyond this era.

To see more of Tim Knowles work, please visit his website:

http://www.timknowles.co.uk/Home/tabid/262/Default.aspx

Come work in a creative environment with a professional artist for one-on-one sessions that will help you develop your skills, direction, and focus. Beki Borman graduated from the Milwaukee Institute of Art & Design in 2004 with a BFA in painting. She has worked for years in both painting and drawing mediums and is well versed in tools and techniques as well as design and composition. Beki has taught classes and workshops at several locations throughout Southeastern Wisconsin.

No matter your experience, Beki will develop a plan and schedule with you to work with your goals as an artist. She will work with you side by side in her studio, offering guidance, feedback, while providing lessons and learning plans uniquely designed for you. There is no obligation, you pay by the hour and can cancel at any time.

Beki’s studio is located in Bay View, south of downtown Milwaukee, at the Hide House. This a community of studios and houses many wonderful artists! The Hide House is located at:

2625 S. Greeley Street
Milwaukee, WI 53207

Lessons start at $15/hr, students provide their own materials. For a travel fee, Beki can come to you as well. This fee will vary depending on distance.

To learn more about Beki and her work, please visit her website:

www.bekiborman.com

or contact her at: bekiborman@gmail.com

I did a second day of plein air at Pere Marguette Park yesterday.  I met some interesting folks and created, what i feel is a more successful painting than the first.  The is still not really my thing, and I am not really thrilled by painting buildings, but it was a good challenge for me.  The experience got me out of my studio and into the city where I felt like part of the community.  There will be a reception and auction on Friday night at 6pm for all the artists who participated.  The address is 610 N. Water Street.  I am looking forward to it.

As a member of Wisconsin Visual Artists I am making every effort to be involved in this years plein air competition taking place this week in downtown Milwaukee.  I have done plein air drawing, but not really painting.  I went out this afternoon, on a beautiful day, and did a watercolor painting,  I was at Pier Marquette Park, overlooking the river.

As the sun moved around and encroached on my shade it got a little uncomfortable after  a while.  None the less, I was able to put out a painting I am pretty satisfied with.  More rewarding than the painting perhaps were the people who stopped by to see what I was doing,  I had a few nice conversations and spent the rest of the time in the peaceful surroundings.  I will post the pictures soon, I haven’t painted architecture since college, so this experience poses new challenges.  It was a nice change of pace.  I plan to be out again on Tuesday!

Currently in my studio I am working on the painting of a tall, vertical tree colored in browns with a lively green and blue background. I am considering this painting seriously, because not only do I know if I like it, I do not know if I do not like it. It just is. It does not yet feel done and I am unsure why. It is not comfortable, and complete in the sense that all of its parts fit together harmoniously. But why is that important and to what am I painting it if it is not?

Compositionally, I can discern that it needs thinner more intricate branching around the top to balance it a bit more. This would also make it feel a bit more three dimensional an entwined in the space. As with all of my works, the tree feels slightly surreal in its relationship to the ground. I do not mind this, as I do not strive for a real space. I want the experience of the viewer to be slightly surreal, imagined, and dreamlike. I believe this to be essential to it being anything more than a nice painting of a tree.

I have written before how I treat my trees like figure drawings, focusing formally on gesture, line, and shape. Unlike paintings of people, trees carry no intrinsic emotion or meaning. So what are they then? They are just shapes against the sky. This carries a lot of existential weight for me. I do not paint the sky, or nothingness behind them. Rather, what I paint is a weighted negative space that is very much something. The painting itself is also something, both as an object and an image that I have created. It is an image of a tree that both looks like a tree and is not a tree. I hope perhaps it can be something more.

I am currently reading “Seven Days in the Art World” by Sarah Thornton.  Thornton gives descriptions of different art world experiences, one per chapter, such as a fair, a grad school critique, a biennial, an auction, etc.  These experiences are enlightening, but also disheartening.  It breaks down the romance of what it mean to be an artist and makes it sound as exciting as a day of stock trading on Wall Street.

I suppose this means I must admit that I succumb to the romantic ideal of a tortured artist, in the throws of self expression, passionate and wild with little concern for money or fame.  Well both are true, because the art world is not really composed of artists, but a secondary string of “art professionals” who make the money.

So where does that leave the artist?  A victim of consumerist culture and contemporary business?  I suppose, in a way  none of us can escape what and who it is we are if we want to be known, acknowledged, and respected for our art.  What does the artist ever really want, other than to make great art? So the art world exists like galaxy revolving around the artist’s black hole center.  Maybe this is a slightly egotistical and dark place to put the artist, but I had to use a cosmos analogy.