Wanting to write more--take less pictures--collages in the studio abound, ready for the next step. Thinking with my eyes, how travel makes its way felt into a painting through the process of making.
When I saw Jenkins' paintings in Paul Mazursky's Unmarried Woman in the late 1970s, I thought nothing of it...but later, they had an impact. Both kitschy and beguiling, the paintings offered the pour as a solution to my work, when I was questioning how to make a spontaneous painting in the manner of Chinese scrolls. Jenkins was influenced by metaphysics and this too is interesting, for part of my love of Chinese painting has to do with its confluence of all matters, earthly and ethereal, in landscape.
Stefani Foster LaBrecque and James Prinz blogged their recent trip to Dunhuang, Gansu Province, where they represented Northwestern University in training the Dunhuang Academy photographers to use a rig for photographing the MogaoKu (Mogao Caves). Jim's blog is linked above and Stefani's can be found below; both offer rich visual essays of China. http://www.facebook.com/ext/share.php?sid=106496542856&h=fBdmj&u=HOIMz&ref=mf
“The fiction of race keeps people from aligning with their material interests. Race ameliorates class conflict, allowing the minority (wealthy) to rule the majority (the poor). Race is our greatest and most useful invention and is created and recreated constantly. It is un-subtle and does not respect the complexity of our lives at all." Kirsten Pai Buick
The experiential nature and time lapse compositions in Chinese scrolls make perfect sense to me. They inspire paintings of real and imagine spaces combining pours of color, wallpaper patterns and elements of places lived or traveled.