Beki Borman

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