A Painting Gone Rogue

Long, long ago in a reality far far away I discovered that one could fail art courses if the plan for making marks hung solely on inspiration. Since then, crafting art has been more as a journeyman; you awake, take breakfast (or not), brush your teeth and go to the studio, turn on some music (or not) and peruse the images while sipping your favorite beverage. There are generally four or five works in progress. The shapes and colors of one arouse the senses and in short time you are making marks.

There is always a visual idea in mind when making marks. It is based on the foundation that a visual language of shape and color give the image its expressive quality. The subject plays a secondary role in this credo. The visual idea may explore a kind of space (representational or surreal) or perhaps a limited color palette idea, (dominate warm or cool) or maybe a notion on using a certain kind of visual rhythms, (flowing or staccato) or perhaps all three could be utilized in one image.

Occasionally there is a piece of art in progress that goes rogue. No matter what you attempt artistically you sense that the image is some how working against you. You know this can’t be, but as the occurrences multiply you begin to accept the absurd; you come to believe the image is alive and making decisions regarding its destiny. You now know, without doubt, the rogue is sabotaging your ideas. You fight back in an attempt to regain control but the rogue is strong and growing stronger. Time and again you reach for the restart button but you are met with defiance. You try for the off switch to no avail. All your efforts are futile. In the end all tactics fail. This is the predicament I faced with the vortex image, Fig. 4, on August 28, 2017. Two days after my birthday the painting had gone rogue.

The visual plan for the vortex painting consisted of working in two stages. The first would establish a curvilinear rhythm on the picture plane and the second would bisect the first phase with a rectilinear design of horizontal and vertical shapes and colors. Most of the under painting would eventually be covered. What remained would function as an energetic counterpoint against the stability of a formal design. A similar idea was investigated with a series of Prismacolor drawings in 2006 as illustrated in Figs. 1, 2 and 3. The difference lies in the media. Prismacolor obviously has different handling characteristics from paint.

Fig. 1, Winter Trees Along the Virgin I, was one of a series of drawings in Prismacolor loosely focusing on juxtaposing the curvilinear against the rectilinear.

Fig. 2, Rectilinear Movement

Fig. 3, Curvilinear Movement

The curvilinear rhythms and shapes were established in the first phase of the vortex painting. This happened rapidly. The work on the second phase was into the fourth week with little to show in the way of ordering a rectilinear design. The rouge rejected each scheme. After a myriad of rebuffs the towel was thrown in, so to speak. A new stratagem was requisite. The plan was to fool the rogue into believing I ceded. To achieve the deception the rogue was led to believe it was randomly placed against a wall in the house, away from the studio and isolated from the other paintings. The rogue hopefully didn’t realize the location was selected so it could be observed almost continually. Each day in passing, a disguised effort was made to determine what was required to finish the painting. The ritual continued for two months.

For several days while passing the rogue, the term “vortex” kept stealing in. At first it was the vortex of whirling air moving the landscape as a whirlwind. Then came the vortex of whirling fluid with the river overflowing onto the flood plain, and then came the most frustrating in the form of a vortex of swirling emotions generated by working in vain. 

Fig. 4, Primary Vortex: Zion, 24 x 36”, acrylic on canvas

I don’t believe I will ever forget the morning it happened. I was making my regular trek past the rogue image when I heard what sounded like a mumble. I stopped, looked around; the only thing seen was the vortex painting, the rogue leaning against the wall. I jokingly said “Rogue, is that you.” I stood startled with eyes wide when the rogue replied, “Of course it’s me. Do you see anyone else around,” the rogue continued “This plan of pretending you are through with me is getting old.” I responded “But in a way it is true. You have blocked each move I made. I have nothing left to give.” The rogue let out a sigh of exasperation and continued. “Why are you so hung-up on that rectilinear design thing? It just doesn’t make sense, Why the he** don’t you just let it go. Sometimes you just have to say what the f***.” I was shocked at the foul mouth. The rogue continued, “Anyway, I believe I look great, if not spectacular, as a curvilinear.” With a questioning tone I said “Curvilinear?” The rogue responded with irritation “Curvilinear, curvilinear, you know… where the shapes and colors are not in a straight line, the ones that are bending, twisting or arching.” I said almost in passing “Oh yes curvilinear.” I was still trying to cope with the idea that a painting was talking. The rouge then suggested that two or three visual elements, already in play, should be enhanced and the painting would be close to finished.

I said to myself “The rogue believes he looks good as a curvilinear.” That statement was cause to analysis the painting to determine what was actually there to be seen.

1) The curvilinear rhythms and shapes were pronounced. See Fig. 5 schematic.

Fig. 5, Curvilinear rhythm

 2) A full value range and an extended intensity range of bright to dull primary colors can be seen. 3) The image manifests a middle to dark value key with patches of light color accents at the top. 4) The dominance of cool colors is evident. (See Fig.6 schematic for #2,3 and 4).  

Fig. 6, Value Key

5) The space wants to push from here to across the valley but the color placement locks the foreground to the background to flatten the space. In the end all visual elements interact to make a mysterious, moody, dreamlike painting that is open to a variety of elucidations. 

The rogue had made an excellent argument for eliminating the second phase of the design. In enhancing a couple of subtle diagonals and reinforcing the horizon line, the painting might be finished.

Finally it came to me, I was so committed to a preconceived idea that I was blinded to the exciting visual happenings that were transpiring. Three months of failed tactics along with the challenge of a rogue painting where required to bring me to my senses. Perhaps an old dog can be taught new tricks.

The rogue then made one last suggestion. I believe it had something to do with a title. He spoke slowly and in a whisper as if the life spark was ebbing “Look at the painting. I believe you will observe a dominance of blues, reds and yellows…. the PRIMARY colors,” He was obviously emphasizing certain words, He continued “Observe the energy of the VORTEX…you know, the whirling and swirling energies, and of course, the site location of ZION.” He paused then said, “Just think about it boy.” I never hear the rogue speak again.