I am a thinking artist who paints abstractly

What does it mean to be a thinking artist who paints abstractly? When I use the term “abstract” I am talking about art that doesn’t directly reference our observed experience of the world, The paintings I make reflect an innate sense of design, color, and composition that I have cultivated over time.Yet each time I begin a painting I enter into the realm of the unknown. Every mark or shape I make is in relation to the one that came before– nothing exists in isolation on a canvas.

Recently I listened to an episode of the Art Matters Podcast which, just to clarify, is not in any way connected to my Art Matters SubStack. In this episode, the host, Isaac Mann, interviews an artist I’ve recently become aware of named David Hornung. In the interview, Hornung talks about how he came to abstraction and his own thinking processes. Hornung says, ” Abstract painting is like improvised instrumental music. Representational painting is like music with lyrics.” I find this analogy with music delightfully simple and clear. Continuing on, he speaks about “listening to the voice within the painting.” Listening to a painting’s voice is a kind of thinking process but it’s hard to describe in words. For me, this kind of thinking–listening and responding to the painting’s voice– is largely nonverbal and primarily located in the senses.

Indirect vs. Direct thought when painting

I exercise direct thought is when I choose my colors and begin mixing tints, shades, and new colors from the primaries of red, blue, and yellow. In this stage of the process, I make conscious decisions to mix particular colors and color values–darks and lights. Curiously, the shift from direct to Indirect thinking happens as soon as I begin to place marks on the canvas. Now I am improvising, trying things out. Sometimes I “erase” a color that doesn’t work with a rag or damp sponge. At other times I leave the color to dry in place and paint over it later. My shapes often have an “ish” quality. They may resemble something familiar, as in, being bottle-ish”. I enjoy playing with that fine edge between a thing and a shape. Of course, the viewer is free to make sense of my paintings in any way they wish. We all bring our own experiences and frames of reference to the experience of looking/seeing.

Printing a painting–another way to think through image-making

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Thinking can involve choosing a style

In the painting examples above you can see me playing with different paint applications, from flat and smooth, emphasizing areas of color, to rough and gestural where the brushstrokes create linear elements that can merge into forms. One approach has a quiet energy while the other is more animated and vigorous. I’m curious about your response to these different approaches to painting. Which of those painting styles are you more drawn to? Feel free to leave a comment!

Thinking through abstraction is a new beginning

It feels like spring in my studio these days as I play with various approaches to abstraction. You may recall reading my post about the abstract painting class I took last fall with Jenny Nelson. If you missed it you may read about it here. Although I’ve been playing with abstraction on and off for decades, this time I have a more complete understanding of where I’m headed–at least, I think I do. After completing the coursework I am walking myself through this exploratory process, taking my time. I hope you enjoy this glimpse of my work and a bit about the thinking process involved in creating abstract images.

With love,

Robin

PS Spring exhibit previews: L.C. Bates Museum “Light”

New Work at River Arts in Damariscotta

Article in the Portland Press Herald