Just a half hour ago I was in the throws of finding continuity in Kandinsky's later works in France. Come to find out, my untrained tactics in understanding the painterly mind has paid off. Kandinksy, throughout is life, pursued developing a visual language that could be successfully articulated on canvas. Proving the repetition of motifs, methods and color symbolism was laid bare through each section of the plates. I now understand the significance of continual development and refinement. All those one by one inch sketches in my logs actually have a purpose. I can go back, set a foundation for them and grow. Integration into the current work may not be difficult after all. Where ever my mind was then eventually progressed into current pieces. Nuances of shapes and persistent problems that I may have solved years ago. The choice seems to be to retrace old approaches and then give sway to new or find the notations in my notes. I need. I must type them all. It is compelling and necessary. I am also curious as to old mindsets. I want to learn from what I've lost, physical and metaphorically. Yes, but to document and yes, but to exhume and yes, to give the work a stronger framework. Maybe I am a bit early to document myself. Maybe that is for the art historians and conservators. Yet, before they get there digs in I would like to have a word a work or two to convey the intellectual essence that may survive me.
So, it is done. I'm on to an old composition and design book. I have an urge to polish up on skills, if not but to revisit concepts and practices I've long let go. One goal? Pushing for well organized compositions. Another goal is to resolve my curiousity on integrating musical principals into the draft and reinforce in the final pass over a canvas. I can not deny Kandinsky putting that leaning into me. His musical training as a child embedded itself in his canvases during the very beginning of his painting career. All my ephemera from the operas are merely sight oriented. How do you imply tonal quality and rhythm in a medium that is not auditory. I vaguely moving into that issue in graduate school. They were only in comments and observations. Instead of passive implications, how do I get to the intention and successfully? Seems like a personal challenge is at hand.
Well, I also feel the need to grab a book on contemporary art from the library. Interlibrary Loan my be the only way. I'm also interested in looking over holdings again. There seems to be a schmattering of old masters and a handful of Modernists. I have an itch for Klimt. It is this abstract sketch of poseys I quickly penned from a faint mental image. The drive in my arms is to make it into a quilt. The poseys remind me of the flowers in Klimt's paintings. Internal drive is telling me to order from the library something on Anslem Kiefer. He is one of my favorites. There is so much depth in his work that I want to understand. Seems like the Internet is going to be good for that.
Meanwhile, I've started on creating patterns for quilts. Where my mind is now is to be ready in two to five years with several to offer. Due to a shoe string budget, I'll be packaging differently. Namely in a book format, meaning a roughly twenty page stapled production slipped into a poster board cover and plastic sleeve. I have room for one or two quilt patterns and a recipe or two to boot. I'm still thinking this through so production is simple. Estimated cost is $20-$30. Warning: I am not having a pattern tester sew a mock up. So basically it is "at your own risk". However I sew the quilt before I start on the direction. Also, I work from scraps and have my own rough approach to color. Therefore the finished product I make will be different from anyone else.
When I finish writing up method and approach, it will be easier to understand process, construction and the templates. That bit of a tome will go into every book I make along with the estimated fabric measurements.
Have a wonderful Labor Day and I'll chat with you later.
As ever, stay hungry and curious.