It’s not meant to be a literal portrait of our early (very) distant ancestors, but it’s more like a reminder, a loving tribute to those that preceded us. Swimming in the proverbial primordial soup, many distinct entities coming together specializing and cooperating to make cells.
Which make us.
Which makes societies.
Which makes me think that maybe that’s how the world is still supposed to work. Seems like the ancestors maybe knew a thing or two.
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This makes me think of a soul coming in fast to incarnate. So what’s with the plowed fields?
We’re all coming in over fields others have plowed, for as far back as there has been humanity, and longer. The old saying is “we stand on the shoulders of giants.” And why are we coming in so fast like a jet landing? Well who wouldn’t be eager to be coming in to this amazing life that others have given their hearts, souls and bodies for?
And guess what: we get to be the next generation of giants for the ones who come after us.
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“Hello, I Am Flower” is a representation of the Flower Diva. Or to be a little more scientific, a morphic field pattern of flowers. Thanks to Rupert Sheldrake for his morphic field concept.
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Well, it’s finally done. Complete with Mars in the sky. I know, there’s a lot of finicky detail to take in with this one.
I usually have some semi profound and/or pretentious things to say about my paintings, but I think you can go with just the title on this one and take it anywhere you want to go.
I know it can be helpful for the artist to write something about their art, but if I could put it into words I wouldn’t have to paint it, would I?
So what am I trying to say with this artwork? I’m not sure the title even relates to what I’m trying to say with it. Now that I think about it, I’m not trying to “say” anything with my art. If I were, my paintings would just be illustrations to flesh out a narrative of some sort. And they’re not that. Usually, anyway — don’t hold me to that in every case!
I think the pieces just want to be born. It’s my job to deliver them, then they can interact with each viewer in a very personal way. And I don’t like to limit exactly what that looks like for anybody, because what do I know about that?
Of course, that runs exactly counter to all the marketing advice for artists. Tell a story to engage your viewers or collectors! And I know that’s good advice, and it really helps a lot of people to enter into the spirit of the artwork more easily. But my paintings are more about feelings and spirit, and I don’t want to constrain or limit what that looks like for anyone.
Gotta strike a balance here though, hence at the very least: a title.
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To the trees, it’s just family. Blood brothers and sisters. Like the fingers of a hand they all appear separate, but they’re really more like one organism, connected through the root system.
Yet of course they’re both, a stately procession of beautiful trees, and a family unit, and we can hold both those ideas in our minds at the same time. And appreciate our plant cousins even more because of it.
Acrylic on canvas 12×12”
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Sometimes we get so impatient because we want to get from here to there right away. But more often than not, our journey is a series of small steps, deliberately and carefully navigated over the unknown depths.
Sure, some of us can dive in and just swim to the other shore. But not me. I need stepping stones.
Thankfully, those who have gone before us have placed some there for us. The journey is still ours to walk mindfully, but thanks to others we have a path. A path where perhaps we can add a stepping stone or two for those who come after us.
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Tekakwitha is awfully good at coming up with titles. I really like this one.
I think the technique is progressing nicely — I’m pretty happy with this one. I have another, sort of a sister painting to this one, but it’s perched on my easel because it just needs something. I have a vague idea of what, but I’m not ready to commit yet.
Painting — the way I paint at least — is always an example of MLK’s saying (and I know I’m going to misquote him here) “you don’t have to see the whole staircase to take the first step.” Or something like that.
I almost always get to a point in a painting where I think this is not going well, I’ve ruined it. Then I launch a desperate rescue operation. Which usually works out. Some pieces end up in the pile of shame, but thankfully only a very few. Almost always I can pull it off, and I’m happy with the final result. Like I planned it that way all along. Like with this one. 😏
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Spyder Webb Fine Art 