Someone asked me the other day, “How do you describe your art?”
Tablet at the ready, I replied, “Would you like to see some?” And he said, “No, I’m really more interested in how you describe it than seeing it.”
Which I found very refreshing.
So I answered, “In large part they are studies of rhythm in lateral movement.”
As the result of a long fascination with the visual dynamics of people passing on sidewalks and intermingling in crosswalks, I’ve collected photographic and video material for years in hopes of making art out of it. Initially, I thought it would be some form of animation. But even with advancements in software, I found the animation process too tedious, and the results too crude, to pursue.
Then during the creative experiments that marked the 2010-2013 transition period, Composition 189 became the next attempt to develop this collected pedestrian material. In a “everything-but-the-kitchen-sink” kind of way, it incorporates most of my creative fads of the time: a curvilinear nod to Jackson Pollock, digital photo collage, a Cezanne influenced color palette and more compositional homage to Marca-Rulli.
However, when it was completed, I really didn’t see it as having any potential for further development as a series. It lacked that intuitively charged “breakthrough” quality that tells me I’ve struck a significant emotional cord.
Now considering it a few years later, I can’t help but note it’s significance as a idea that had not yet met it’s time.