(above images by Abigail Doan / May 2013)
Spring is flowing right along – textures and moments of subtle (hue) comparisons are very much on my mind. I am working on my first book project related to some of these finds. More details on this during the month of June.
I keep searching for the right combination of elements and instances – naturally, like the ebb and flow of my own coastal waters. A process that I reference in this personal SWIM story recently featured on Nomad-Chic.
Beautiful and provocatively odd moments just keep drifting in, and I always interpret these events as small signs that all is on course and often beyond my daily plotting.
Richard Tuttle / Mei-Mei Berssenbrugge, 'Hello, The Roses' (2012)
To quote Richard Tuttle, whose works I have been studying of late, it sort of flows like this:
If you’re going to be a visual artist, then there has to be something in the work that accounts for the possibility of the invisible, the opposite of the visual experience. That’s why it’s not like a table or a car or something. I think that that might even be hard for people because most of our visual experiences are of tables. It has no business being anything else but a table. But a painting or a sculpture really exists somewhere between itself, what it is, and what it is not – you know, the very thing. And how the artist engineers or manages, that is the question – Richard Tuttle via Kathryn Clark