Let us consider two important factors, the two poles of the creation of art: the artist on one hand, and on the other the spectator who later becomes the posterity; to all appearances the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing.
Having completed my eight-hour drive from Corpus Christi, back to my home in the metroplex, I am exhausted to the bone, but still need to pull together some ideas while they are fresh for tomorrow night’s presentation. I am a proud member of a Salon that meets monthly to discuss ideas, and tomorrow evening I will be sharing my experiences as Artist-in-Residence on the Texas Laguna Madre. I have known about this engagement for over a month and have composted a number of approaches to presenting this experience, but I am still making changes.
For over twenty years, I have been fascinated with Marcel Duchamp’s nine-foot tall installation, titled The Bride Stripped Bare By Her Bachelors, Even (The Large Glass). He worked on this piece from 1915-1923, before bringing it out for public viewing. In 1934, he made available ninety-three pages of notes and illustrations, showing the workings of his mind as he put this piece of art together. Titling it The Green Box, he wished it be a verbal complement to the imagery in his sculpture.
On May 6, exactly one month before I was to being my Artist-in-Residence assignment, I began my own “Green Box” and in the ensuing weeks stuffed a manila file folder full of my writings, musings and sketches of the island project that lay before me. I am currently thinking of sharing some of these ideas with the Salon tomorrow night, as well as the images of the paintings I just took to Corpus Christi yesterday for the one-man-show.
I wish I could write more tonight, but my eyes are closing. It’s been a long, weary travel day, and there is so much to do tomorrow.
Thanks for reading.
I paint in order to remember.
I journal when I feel alone.
I blog to remind myself that I am not alone.