Frustratingly stuck in bed feeling rubbish with a fluy cold. I am a very impatient patient and annoyed not to be well enough to go to the studio. I tried to get up earlier and nearly fell over-I think I may have a bit of vertigo/Labyrinthitis-not that I’m an expert-I’ve just been researching out of frustration and interest!!!
Watched some you tube films of Gerard Richter and his methods of working. Couldn’t sleep last night so read some Derek Jarman’s Chroma-lots of references so may well be a book to keep revisiting.
I have been thinking of my work -my present project together with work I want to do in the future. I am wondering what I will do with the large canvases I’m working on-I’m not sure they will fit in the car and where on earth am I going to put them even if I do get them home! Oh well….I dont believe in practicalities,it stiffles creativity!
I came across a quote whilst researching that I thought interestingThe Art Institute of Chicago
Happy birthday to the French Modernist Fernand Léger, who once wrote: “There is no such thing as ‘abstract,’ or ‘concrete’… There is a good picture and a bad picture. There is the picture that moves you and the picture that leaves you cold… A picture has a value in itself, like a musical score, like a poem.”
I wonder how people will see my work-hope it doesn’t leave them cold! I have been worried about my exbibition but I think I always get anxious before showing my work. The interview with Richter was very reassuring. Its good to hear that well respected artists enjoy process and value playing. Robert Storr points to this importance of process and comments on Richter’s ability of letting go of control so other things happen. Storr also points to the fact that Richter in never influenced by anything but feeds on everyone and uses everything but without leaving any residue. By this I take him to mean that there is not one single point of reference-where the painting takes you is not confined and indicates a phenomenological response to a painting. This approach to work was also highlighted at the talk I went to in Chichester on Sean Scully’s work. How do we see a painting and how do we resond to it? How can we know the artist’s intention? Many times I have stood infront of a work and I just don’t get it-I don’t understand. Maybe it’s not so important to find the “right” meaning-rather to respond to a painting and experience the work.I find it all confusing but if the viewers can experience and feel something when they stand infront of my work, whether or not it was intended, I’ll be very happy.
Virginia Topp
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