The Abstract Language

As a human my experience is embodied. I am not a disembodied reason or a brain in a vat. For a more in depth discussion see Lakoff and Johnson’s Philosophy in the Flesh. In other words, Descartes’ idea that “I think, therefore I am” is totally wrong. The language of representation is built on linear perspective, an “abstraction” that is not true to our embodied experience. Thus most representational work feels dead. The exceptions are when the artists breaks the rules…but that’s a whole other discussion (David Hockney talks at length about these issues in a number of his books). Anyway, the language of abstract painting is the language of shapes and forms, of color, of overlapping plains, on a flat surface. When we as abstract artists speak in this language, we create paintings that have more life, are more real. They become living moving objects, because the surface of the canvas has been activated. Shapes, forms, colors, gestures, marks, etc. become carriers for our thoughts and feelings, both conscious and subconscious. Creating an abstract piece of work can be described as the process of embodiment of the artist’s thoughts, feelings, desires, etc. in paint.

On 02.27.08 Jimmy McDonough wrote these pithy words:

Abstract paintings can be seen as a meditation on something you saw or felt or a combination of the two or more. All representational paintings aren’t dead think of Titian and Caravaggio. With the invention of the camera, there just really isn’t a need for realistic painting unless you are looking for a fancy souvenir of a place visited or portrait. I have heard a lot of people who are studying realism aspire to become portrait painters. Non representational paintings are a lot more fun to paint than a picture of some old crusty judge or rich bitch.

On 02.27.08 Gordon Fraser wrote these pithy words:

True not all representational work is dead. Titian, Rembrandt, Mary Cassatt and countless others have created moving and powerful paintings. But they have done so by activating the surface, using the same principals of overlapping shapes and forms, rich brush strokes, etc. and not slavishly following the rules of linear perspective.

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