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charcoal on paper, 36" x 42"
Portfolios: November 2011 Curator Reviewed Art
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Thanks for responding, Doug. Now that you offer a context for your work I can definitely see how the Ohio River Valley could influence the space and light in your work (I actually live on the Schuylkill River in PA.) I also liked the viewing of several of your pieces on the virtual gallery page. It was nice to see installation shots, as you “move” through the space. I could appreciate the ebb and flow of one piece into the next when viewed in this manner, which is difficult in a traditional slide page viewing format. The scale of the work also translates nicely, making them more environmental rather than vignettes of smaller spaces. It is difficult to view most drawing and painting online- nothing supplants the experience of standing in front of an object. But I must tell you I’ve found the conversations with other artists on this site quite rewarding. There is a benefit to viewing new work with fresh eyes. I have a good support of artist friends in my area, but that close familiarity often clouds and influences our viewing experience- for worse or better.
Thank you for such a thoughtful viewing of these images. Quite impressive that you've been able to "read" them so clearly given the hindrances of a computer screen. Much appreciated that you've taken such time. It is always a pleasure to know that one's language has been received!
We're fortunate enough to enjoy an almost 180 degree view of the Ohio River Valley north of Pittsburgh. The vantage point has greatly impacted my imagery over the years. So while the landscape has infused itself into my visual language, for some reason or another there are often hints and recollections of the figurative coming in and out. Am not sure of the how or why...it happens and other viewers often mention these connotations. Believe you are correct seeing the vulnerable aspects when this occurs.
Concerning choices, when a piece is worked horizontally then the environment is taking precedence. Worked vertically I am responding to the environment. The title "Riddle of The Chinese Ball" came from a dream and had to do with metaphysical issues. It was a conscience choice on my part to not be literal and include a sphere. You are entirely correct; for the dream was about puzzles, hence my reliance on metaphor. This seemed to be the most coherent manner of describing the experience.
Thank you once again for taking the time to view (and give words) to a sampling of my imagery.
Have other pieces on view in a rather interesting virtual gallery: https://doug_kinsey.virtualgallery.com
Please feel free to take a look when you have the time.
Your Riddle of the Chinese Ball series present as a poignant, affecting grouping of images. There’s a smoky stillness to the achromatic palate, but also a weighty feel to the atmosphere with the thick black masses, and chasms of filtered gray. I especially like the pieces which include two unequal forms, as an interaction between them further charges the space. (The first, third and seventh drawings in my page viewing.) The first image seems to have thin lines drawing the masses together in a tenuous manner. These two appear grounded by the slightly darker and more modeled bottom section. I find the seventh image in the series most emotive, as the negative space reads as truly ‘empty’, and stark. The black forms take on a figurative connotation, and are more vulnerable in the picture plane. I’m curious about the titles of the work, assuming since visual spheres and circular shapes are absent in the drawings that the reference to puzzles is more metaphorical.
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