| Jazzman:
Jazzman was sketched in coloured pencil on an (8x10in) sheet. Wandering
lines were drawn from edge to edge over the surface. At some point I decided
to draw a rectangle that cut a section from the wandering lines. Within
this rectangle of wandering lines an image was allowed to evolve, by adding
a colour here, another there, modify a shape here and there - ideas
began to link together under the influence of the improv gods until it
became "jazzman".
It is the letting-go, not knowing ahead of time the next shape, texture,
colour, or form; that letting-go turns you into an observer watching in
amazement as the creative ego plays over the visual field. I use the word
"ego" to name the centre of creativity. At the end there is always this
amazement, this disbelief, this feeling that someone else did it not the
"I" or the "self", but someone else. Maybe we are too modern for the
other side to ever be part of the "I".
I do get into it don't I.
The overall composition uses some of Kandinsky's, (Russian 2oth cent),
ideas on dynamically relating shapes. It should be noted that Kandinsky's
shape harmony ideas are a translation of Ruskin's, (English 19th cent),
who used clouds to explain the same idea. The colour scheme is reminiscent
of medieval primary colour usage in stained glass windows, giving it a
contradictory time period twist to the art nouveau curves . The chromatic
articulation point (red & yellow) is in the upper left quadrant located
according to the golden section sub-division of the field. This reinforces
the medieval stained glass under currents. There is another
sub-structure that recalls a nebulas life form. The shapes are varied
and tend towards flatness with some plastic form contrast. The image
was scanned in and presented as is.
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